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Smithsonian

Freer Gallery of Art and

Arthur M. Sackler Gallery

Office of the Director
May 20, 2003

Dear Friends and colleagues,

I am pleased to enclose Asiatica, the inaugural issue of the annual magazine of the Freer and
Sackler galleries. The staff and I are delighted to have a magazine that features current and
upcoming exhibitions, programs and acquisitions.

As you will see, we are planning an ambitious schedule of major international exhibitions and
outreach programs that study and celebrate the arts and cultures of Asia. I hope you will be
inspired to come and visit us often!

Inside, you will also find the newly-redesigned Annual Record, which looks back at activities
during fiscal year 2002 and records the generous contributions made by individuals,
foundations and corporations. The climate this year is more difficult for all of us, and I am
convinced that we will best survive by collaborating across a broad range of areas.

Yours sincerely.

Julian Raby
Director

Enel.

JR/km

SMITHSONIAN INSTITUTION
Freer Gallery of Art
Arthur M. Sadder Gallery
Washington DC 20560-0707
202.357.4880 Telephone
202.633.9026 Fax

DUE TO RECENT DELAYS IN DC MAIL
PLEASE USE THE FOLLOWING
ADDRESS UNTIL FURTHER NOTICE:

SMITHSONIAN INSTITUTION
Freer Gallery of Art and
Arthur M. Sackler Gallery
PO Box 37012, MRC 707
Washington, DC 20013-7012

asiatica

2 Director’s Letter

2003

Details

4- an inside view Up Close and Behind the Scenes

Whistler's frames, gallery flowers, and a Pakistani truck are all part
of what's going on in the galleries.

Exhibitions

8

18

NOGUCHI A Close Embrace of the Earth In three creative bursts,
Isamu Noguchi sculpted 200 stunning works from Japanese clay— and
spurred a generation of modern Japanese ceramic artists.

FAITH AND FORM Partners in Collecting Sylvan Barnet and
William Burto have assembled an extraordinary collection.

HIMALAYAS Art from On High Coming to the Sackler this fall:
Hindu and Buddhist treasures from India, Nepal, and Tibet.

34 bada shanren After the Madness How a young Ming prince
was transformed into an eccentric master painter and calligrapher.

42 WHISTLER One-Man Show James McNeill Whistler helped define
a new style of displaying art, focusing on a sole artist-himself.

Acquisitions

50 SHIVA NATARAJA The Dancing Creator This incarnation of the
Lord of Dance will add its beauty and power to the Freer.

34 amida BUDDHA A Sculptural Rebirth A rare fourteenth-century
Japanese Buddha is added to the collection.

Focus

OUTREACH Out of the Galleries and Beyond the Walls

Stephen Eckerd leads children on Asian art adventures: gowns, glitz, and
glamour come to the galleries: and Sackler exhibitions travel the world.

Endnote

FROM THE ARCHIVES Photographs from a celebrated collection.

Annual Report 2002

[ NOTE TO THE READER: FOR CREDIT INFORMATION SEE PAGE

24 OF THE ANNUAL RECORD.]

Director’s Letter

It gives me great pleasure to introduce the inaugural issue of the annual magazine of the Freer and Sadder galleries.

The magazine has been designed to provide a vivid glimpse into the life of our museum — by highlighting our
forthcoming exhibitions and our current acquisitions and by providing profiles of the people who contribute in
diverse ways to our success, whether as staff, volunteers, donors, or trustees.

This year sees a broad range of major loan exhibitions. Isamu Noguchi and Modern Japanese Ceramics is the first
exhibition to focus on the ceramic works by the celebrated Japanese-American artist Isamu Noguchi. He rarely used
this medium other than when he was living in Japan, and he clearly adopted it as one way of exploring his own cul-
tural roots. Noguchi interacted with many of Japan’s leading ceramicists at a time when they were looking at ways
to reinterpret the country’s ceramic traditions.

Tensions between tradition and innovation are a central theme in another of our exhibitions this year — After the
Madness, Paintings and Calligraphy by Bada Shanren. Bada, who was a scion of the Ming imperial house, was a
highly individualistic painter and calligrapher, and his work is thought to reflect both his own psychological travails
and his increasing dismay as he witnessed the demise of the Ming dynasty.

In the fall, the Himalayas come to Washington, in the form of Himalayas: An Aesthetic Adventure. The exhibi-
tion, originated by the Art Institute of Chicago, comprises Buddhist and Hindu sculpture, ritual objects, manuscripts,
and paintings ranging in date from the sixth to the nineteenth century, from Kashmir, Nepal, and the Tibetan Plateau.
Many of the items have a numinous quality that conveys the intensity of religious devotion and practice in the “roof
the world.” The objects also reveal the stylistic diversity of the three regions, but above all they have been selected —
by one of the outstanding experts in the field, Pratapaditya Pal — for their aesthetic merits.

Faith and Form, Selected Calligraphy and Paintings from the Japanese Religious Tradition juxtaposes selected

works from the collection of Sylvan Barnet and William Burto with works drawn from our own collections, princi-
pally from that of the Freer, in order to explore the resonances between the two. Mr Whistler’s Galleries re-creates
two of Whistler’s important installations; one held in London in 1883, the other in 1884. Whistler was an innova-
tor in the display of fine art, and in the 1883 exhibition of etchings he adopted a color scheme of yellow and white,
followed the next year by pink and gray for a show of oils, watercolors, and pastels. This exhibition reveals Whistler’s
important contribution to the development of museum display in the late nineteenth and early twentieth century, an
influence readily felt in Platt’s design for the Freer Gallery. It is appropriate, then, that these evocations of the 1883
and 1884 shows should be held at the Freer, and I would like to thank the Virginia Museum of Fine Arts, and in par-
ticular its director, Michael Brand, for suggesting that we host the “Yellow and White” installation.

We also focus on two outstanding works acquired in the last year — a tenth-century Chola bronze of Shiva Nataraja
and an Amida Buddha from fourteenth-century Japan. The Shiva, both artistically and iconographically, makes a
perfect pairing with the Freer’s Parvati of the same date, while the sublime aura of the Buddha leaves a deep impres-
sion on all who have seen it.

Also included is an article about ImaginAsia, our children’s program, directed by the Pied Piper of the Sackler, Stephen
Eckerd. Stephen succeeds in keeping even the most rambunctious children spellbound as they process around the gal-
leries on an artistic treasure trail or busy themselves in his enchanted den, which is then festooned with their creations.
Last you’ll find beautiful Japanese photography from the Rosin collection; treasures from the archives.

Our new magazine is intended to be a joyous celebration of the Freer and Sackler galleries. It is, of course, only
a selective view of all that happens here, but I hope that it inspires you — and your family and friends — to visit us
not once, but many times this year. JULIAN RABY

DIRECTOR'S MESSAGE 3 ASIATICA FS | G 2003

D ETAI LS

UP CLOSE + BEHIND THE SCENES

Packaging the Painting

DO THE FRAMES AROUND EIGHT WHISTLER WATERCOLORS
LIVE UP TO THE ARTIST'S VERY PARTICULAR SPECIFICATIONS?

The year was 1884, and James McNeill Whistler’s art exhi-
bition in London had the critics talking— but not just about
the paintings. "The reviews of that show raved about how
the frames matched not only the paintings but the colors
of the walls,” says Jane Norman, exhibition conservator at
the Freer. Indeed Whistler was an artist who insisted on
preserving the aesthetic continuity between the canvas
and the frame. As he once remarked: “My frames I have
designed as carefully as my pictures— and thus they form
as important a part as any of the rest of the work.”

With the Freer’s upcoming re-creation of that 1884
show, it seemed like an auspicious time for the museum to
authenticate the gilding and colors of its Whistler frames.
Norman and Kenneth Myers, associate curator of American

art, identified eight small frames to
study; all originals presumed to have
been regilded over the years. Enlisting
the help of expert frame conservator Bill Lewin, the research
team began its work. “The big news is, after removing the
inner liners, we were able to see the frames' original gild-
ing as well as corresponding pencil marks,”>ecalls Nor-
man, who says they also discovered handwritten numbers
that likely Indicated dimension and karat number.'Jt was
very exciting to realize there are different colors in here.”
Still, the sleuthing is far from over. The research, which
began last summer, must now wade through murkier ana-
lytical matter, testing such elements as gilding composition
and toning materials. While it's too early to know if the
frames will be restored to their original form, the team
remains encouraged. “We're thrilled by the progress," says
Myers.“The discovery confirms my desire to move forward.”

Facts + Figures li m the know: freer and SACKLER visitors over age 25 WERE THREE TIMES MORE LIKELY THAN THE AVERAGE ART MUSEUM
VISITOR TO HAVE AN ADVANCED DEGREE. S| D.C. DRAW: LOCAL VISITORS FREQUENT THE FREER AND SACKLER TWICE AS OFTEN AS OTHER MUSEUMS ON
THE MALL. |i ART HISTORY: THE FREER GALLERY OF ART OPENED AS THE SMITHSONIAN'S FIRST FINE ARTS MUSEUM IN 1923. SIX DECADES LATER, MED-
ICAL RESEARCHER AND PUBLISHER DR. ARTHUR M. SACKLER PLEDGED NEARLY 1,000 ASIAN MASTERWORKS TO THE SMITHSONIAN FOR THE ESTABLISHMENT
OF THE D.C. SACKLER GALLERY. II A SILVER LINING: TO IMMORTALIZE A PAYMENT DISPUTE, JAMES WHISTLER PAINTED TWO EMBATTLED PEACOCKS ON
THE SOUTH WALL OF THE NOW-FAMOUS PEACOCK ROOM. AT THE FEET OF THE IRRITATED BIRD ARE THE SILVER SHILLINGS THAT WHISTLER'S PATRON, FREDERICK
R. LEYLAND, HAD REFUSED TO PAY, WHILE THE SILVER FEATHERS ON THE PEACOCK'S THROAT INSINUATE LEYLAND'S “RUFFLED FEATHERS." li COUNT ON IT:
THE FREER COLLECTION COMPRISES SOME 26,000 WORKS OF ART SPANNING SIX MILLENNIA, WHILE THE SACKLER HOUSES SOME 3,000 OBJECTS.

Sculpting with Flowers

FOR HIS WELCOMING CREATIONS, CHEYENNE KIM TAPS FLOWER MARKETS
AS CLOSE AS WASHINGTON, D.C., AND AS FAR AS SOUTH AMERICA.

Several years ago, Cheyenne Kim was strolling through an
orchid exhibition in Vancouver when he was struck by an
exquisite flower arrangement. Unable to see it clearly, he
went up for a closer look. “It turned out to be plastic,” he
says, smiling. "My eyesight is not so good. Like Cezanne.”

The comparison may be tongue-in-cheek, but, like the
great French painter, Cheyenne can boast artwork that
turns the heads of museum patrons. An orchid specialist
for the Smithsonian Office of Horticulture, Cheyenne is
the mastermind behind the lavish and dramatic creations
that welcome visitors to the Sackler’s pavilion. The flower
artist, who was born in Japan and grew up in Korea, usu-
ally taps local wholesale markets for his arrangements,
but occasionally orders blossoms from as far away as
New Zealand and South America. Often combining dis-
parate cultural styles and floral techniques, Cheyenne's
work is never predictable— but always inspired.

For his pavilion work, Cheyenne can thank Else Sackler.

The now-deceased first
wife of Arthur Sackler
presented the museum
with a flower endowment nearly a decade ago, “She lived
in New York and always loved the flowers in the lobby of
the Met,” says Patrick Sears, associate director, special
projects and facilities. Originally set up for special occa-
sions, the gift eventually expanded to support a weekly

display. Cheyenne, who met Mrs. Sackler herself six years
ago, has been imparting his time and expertise ever since.

A fixture at the museum every Tuesday morning, the
gregarious artist is happy to stop and answer questions
from admiring visitors. Cheyenne says he is grateful for the
opportunity to create such a grand display. “I really appre-
ciate the abundance of Mrs. Sackler's gift,” he says. “The
flowers show how big her heart was.”

A Master’s Admonition

POTTER ROB BARNARD RECALLS YAGI KAZUO’S COUNSEL:
STAY FOCUSED.

At his home in the Shenandoah Valiey, artist Rob Barnard
keeps an unusuai memento, it is calligraphy by his one-
time ceramics teacher, Yagi Kazuo. The brush strokes,
eloquent yet peculiar, cascade down a opaque sheet of
handmade paper, forming the Japanese characters for
enshin, the pivot needle of a geometric compass. “That
was his final admonition to me," recalls Barnard, who re-
ceived the inscription from Yagi just days before he left
Kyoto. “Don’t be distracted by anything on the side. The cen-
ter is the most important thing.”

Twenty-five years later, the student still follows his

mentor’s counsel. Working in wood-fired
pottery, Barnard remains focused, cre-
ating pieces that address the human
condition with simple yet profound nuance. Known for his
remarkably textured vessels, the Kentucky-born artist is
bound not just by creating aesthetic forms, but the philo-
sophical process of reaching those forms. He credits Yagi,
his personal teacher from 1977-78, for grounding him
intellectually. “Because of him, I don’t think of glaze or
shape," says Barnard. "I think of what I’m doing as a way
to communicate something important."

Considered the father of modern Japanese ceramics,
Yagi created pieces that reached uncommon ground—
simultaneously contemporary yet rooted in tradition, vis-

ually appealing yet emotionally unsettling. Under Yagi’s
watchful eye, Barnard began to appreciate the metaphor-
ical depth and moral implications that ceramics could
convey. “The Japanese feel that pottery is able to express
some of the great mysteries of life,” he explains. “It’s the
soul of a whole culture.”

It’s a long way from Kyoto, Japan, to Timberville, Virgin-
ia, but Barnard keeps his teacher’s philosophy close to
heart. He remembers Yagi, who died in 1979, as a forthright
man who believed that art should strive to confront. “He
told me to never waste time trying to make your work
palatable to others,” says the artist. “If you have an idea or
feeling about something, you go right for that."

The calligraphy is always there to remind him.

ON MAY 8 AND SEPTEMBER 4
AT NOON. ROB BARNARD WILL
BE GIVING A GALLERY TALK
AT THE ISAMU NOGUCHI SHOW.
WHICH WILL FEATURE THE
WORK OF YAGI KAZUO.

The Truck Stops Here

A PAKISTANI TRUCK PULLS UP TO THE This dazzling artwork on wheels

SACKLER THIS SUMMER was a hard-to-miss attraction at

the 2002 Smithsonian Folklife
Festival. Painted by Haider Ali, the truck features a colorful fusion of Pakistan’s regional
styles, including carved wooden doors, white plastic inlay, and stainless steel peacocks.
The vehicle evokes a long tradition of truck decorating in Pakistan's port city of Karachi,
where carpenters, bead makers, and painters would adorn trucks with distinctive local
motifs. The truck will brighten the entrance to the Sackler ali summer.

-M.SaCKL£R.

DETAILS 5 ASIATICA FS|G 2003

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A close
embrace
of the earth
Isamu
Noguchi

modern

Japanese

ceramics

In three creative bursts,
jhe sculpted 200 stunning
*works from Japanese

clay— and spurred
a generation of modern

Japanese ceramics.

The name conjures up the avant-garde shapes, sculpture,
and furniture of the fifties and sixties. Later, monumen-
tal stone and bronze. Isamu Noguchi is far less known for
his work in clay. However, during' three brief, intensive
sessions in Japan — in 1931, 1950, and 1952 — he created
approximately two hundred abstract pottery objects, from
Zen Buddhist-inspired abstractions to forms designed for
sculptural ikebana.

This May, the Sackler presents the first major museum
exhibition celebrating Noguchi’s ceramic work as well as
the work of prominent post-World War II Japanese cer-
amic artists with whom Noguchi collaborated or inter-
acted. Isamu Noguchi and Modern Japanese Ceramics
brings an understanding of the nature and scope of the
concerns Noguchi expressed through clay— an under-
standing crucial to appreciating his work as a
whole. What is more, by throwing light on the
major ceramic artists working in Japan in the
1950s, the exhibition reveals a largely unknown
genre of modern Japanese art.

Born in 1 904 to an American mother, Leonie
Gilmour (1873-1933), and a Japanese father,
the famed poet Yone Noguchi (1875-1947),

Noguchi became estranged from his father when his par-
ents separated shortly after his birth. This painful separa-
tion encouraged a lifelong yearning to connect with his
Japanese heritage. In the late twenties he traveled through-
out Europe and Asia, and eventually began, in 1931, his
work in Japanese clay, a medium that brought together his
passionate yearning for identity and his genius as a sculp-
tor. As he once put it, “To know nature again. . .to exhaust

INSTALLATION VIEW OF NOGUCHI'S SOLO EXHIBITION AT MITSUKOSHI DEPARTMENT STORE, TOKYO, 1950

"I have since thought of my lonely self-incar-
ceration then, and my close embrace of
the earth, as a seeking after identity with
some primal matter beyond personalities
and possessions. In my work I wanted
something irreducible, an absence of the
gimmicky and clever.”

-ON THE MAKING OF THE QUEEN IN 1931.

EXHIBITIONS 10 ASIATICA FS|G 2003

NOGUCHI AND HIS 1952 WORK FACE DISH (ME). AS PUBLISHED IN TIME MAGAZINE, JANUARY 10, 1955

one’s hands in its earth. . .one has to be a potter, or a sculp-
tor, and that also in Japan.”

Japanese reverence for ceramics is, of course, well
known. For more than four hundred years ceramic ves-
sels have been created for use in the tea ceremony, and
potters today carry on the tradition by using the clays,
glazes, and techniques that have been passed down for
generations. For Noguchi, the link between ceramics
and Japan was more than a matter of access to specific
materials and techniques. He once described his 1931
pottery-making experience as “my close embrace of the

BIG BOY. 1952

earth, as a seeking after iden-
tity with some primal mat-
ter beyond personalities and
possessions!’ During 1931,
he cast terra-cottas in the cel-
ebrated workshop of Uno Ninmatsu (1864-1937) with-
in the venerable ceramics industry of Kyoto, Japan’s cul-
tural capital. He also was introduced to the prehistoric
Japanese figurines known as haniwa. His works from that
year, including The Queen, recall those artifacts.

Noguchi returned to New York and there gained criti-
cal acclaim; his reputation as an abstract sculptor and
designer soared. Nearly twenty years passed before his
return to Japan in 1950. During “one furiously creative
week,” Noguchi produced a group of ceramic works for
an exhibition at a department store. As he had done in
1931, he applied modern sculptural and design vocabu-
laries to indigenous Japanese forms and materials. The
works from 1950 are characterized by a specifically Asian
concept: that art and life are united aesthetically. The 1950
exhibition was designed with that concept in mind; mod-
ernist sculpture and functional wares were placed side by

"A fine balance of spirit with matter can only
concur when the artist has so thoroughly
submerged himself in the study of the unity
of nature as to truly become once more a
part of nature— a part of the very earth,
thus to view the inner surfaces and the
life elements’.’

-ESSAY FOR AN APPLICATION STATEMENT FOR THE
GUGGENHEIM FOUNDATION, 1927.

MY MU, 1950

The exhibition is made possible by grants from the Feinberg Foundation,
Sachiko Kuno, Ryuji Ueno and the S&R Foundation, Masako and James
Shinn, and H. Christopher Luce, with additional funding from Jeffrey R
Cunard, the Else Sackler Public Affairs Endowment, and the Director's
Discretionary Fund established by Peggy and Richard M. DanzigerThe
exhibition is supported by an indemnity from the Federal Council on
the Arts and the Humanities. Transportation assistance provided by All
Nippon Airways, Gallery furniture provided by Design Within Reach,
The exhibition is endorsed by the Japan Foundation, and organizational
assistance is provided by the National Museum of Modern Art, Kyoto.

"When I was living in Japan our house was
filled with centipedes. I became rather fond
of them; I lost my fear. You know, when you
kill a centipede, the two halves just walk off.
This gave me the idea for a sculpture in sec-
tions, each a separate thing....What happens
is that your eye jumps from one image to
the other and your subconscious supplies
the connection. I also liked the rather
quixotic notion of dignifying the centipede
by making a sculpture of him— thus indicat-
ing that the centipede can aspire to human-
ity, or even to God. The work is a shrine to
the centipede. Or rather the centipede is now
enshrined at the Museum of Modern Art.

—ISAMU NOGUCHI IN AN
INTERVIEW WITH KATHERINE KUH

JOURNEY, 1950

EXHIBITIONS 13 ASIATICA FS | G 2003

mm

WORK, 1952

EXHIBITIONS 14 ASIATICA FS1G 2003

side to create a blurring of art and craft. Three of the
works from that exhibition are included in this show.

In 1952, Noguchi engaged in his final and most pro-
ductive period of ceramic creation. He and his wife, the
actress Yamaguchi Yoshiko (horn 1920; married 1951),
had established a home and studio in the Kita
Kamakura compound of the traditionalist potter Kitaoji
Rosanjin (1883-1959). Rosanjin introduced Noguchi to
the styles, methods, and materials of Japanese pottery
traditions, and Noguchi experimented with the clays,
glazes, and kilns amassed by Rosanjin. During that year,
Noguchi exhibited 119 ceramics at the Museum of
Modern Art in Kamakura, twenty-six of which are
shown in the Sackler exhibi-
tion. The communion with
nature and a sense of a
homeland in Japan imbues
Noguchi’s ceramic figurines,
sculptures, plates, and vases
from this period.

It was also during that year that Noguchi’s art became
linked with Japanese flower arranging (ikebana). In the
past, ikebana was characterized by arrangements of plant
materials in vases that were meant to be viewed from one
direction. In the postwar years, ikebana vessels had evolved
into sculptural structures made of clay, scrap iron, or
wood that supported and interacted with the plant mate-
rial. Like sculpture, these avant-garde works were given
titles and were meant to be seen in the round. Noguchi
devoted much of his ceramic work in 1952 to making
flower vases that were inspired by the work of Teshigahara
Sofu (1900-1979), the founder and director of the Sogetsu
school of ikebana. Teshigahara became the most impor-
tant collector of Noguchi’s ceramic works, motivated in
part by his desire to use them for his flower arrange-
ments. Four of the works in the exhibition — War, Ghost,
and two works described as three-legged vases — once
belonged to Teshigahara.

Isamu Noguchi and Modern Japanese Ceramics not
only reveals a relatively unknown aspect of Noguchi’s
oeuvre, but it also introduces an American audience to
exceptional Japanese potters whose work has received
little attention outside of Japan, including Kaneshige Toyo
(1896-1967), known for his mastery of manipulating
firing effects. Noguchi also worked with primitivists such
as Okamoto Taro and Tsuji Shindo, both of whom are
represented in the exhibition.

Through extensive press coverage and exhibitions in
1950 and 1952, Noguchi’s clay work became known to
the youngest generation of Japanese potters, who sought
ways to link their work to wider concerns of interna-
tional art movements. Just as American artists such as
the abstract expressionists had done after the war, Jap-

"It's the earth, the coarse earth which only
Japanese people have. It is not in America.
I am drawn to the skin of the pottery....
The earth of Japan has opened my eyes,
as if in discovery of some new horizon.
And yet, perhaps this is just the recovery
of memories of my early childhood.”

(3)

INFLUENCES AND
MOVEMENTS
A wide range of West-
ern artists, including
Brancusi (i), Klee (2),
Miro (3), and Picasso,
influenced Noguchi
and his Japanese
counterparts.

SODEISHA

The Sodeisha artists
used ciassic Japanese
ceramic models to
address their own inter-
ests, which were keenly
attuned to happenings
in the larger art world.
They were discovering
the imagery of Klee,
Miro, and Picasso in the
foreign journals and
books that were so
expensive the artists
shared one copy among
them. At Left (4), Yagi
Kazuo in his studio
preparing works for
the September 1954
Sodeisha exhibition in
Kyoto and (5) carrying
a board bearing his
unfired sculptures down
Gojozaka slope to the
communal kiln. (6)
Members of Sodeisha
on the occasion of their
seventh exhibition,
October 15-20, 1952.
Clockwise from top
left: Kenzaki Kenzo,

Yagi Kazuo, Suzuki
Osamu, Yamada Hikaru,
Nakajima Kiyoshi.

THE POLICEMAN, 1950

anese ceramic artists formed groups for the purpose of
organizing exhibitions. In the absence of commercial
galleries, such group exhibitions played a vital role in
introducing new work to the public, but equally important
was the opportunity for urgent debate of new ideas. One
such group was Sodeisha (Crawling through Mud Asso-
ciation). Its members included Yagi Kazuo, Suzuki Osamu,
and Yamada Hikaru. This
group formed the center-
point for the development
of abstract, sculptural cer-
amics within Japan.

Some groups of this type
employed forms and techni-
ques that denied all links
with historical Asian wares;
the Sodeisha artists, how-
ever, never abandoned the
fine craftsmanship for which
Kyoto is known. Like Noguchi, they used classic models
to address their own interests, which were keenly attuned
to happenings in the larger art world, such as the art of
Paul Klee, Joan Miro, and Pablo Picasso. Sodeisha artists
sought to wean their work from prevailing conventions
of Japanese ceramic taste. This process of thoughtful
rejection of a whole series of accepted standards consti-
tutes the group’s central contribution to the liberation
of modern Japanese ceramic form. Said Yagi,“With classi-
cism as the base, I want to make new work that explores
the very limits of ceramics.”

That Noguchi had a tremendous impact on Sodeisha
is particularly clear from the following statement by Yagi:
“We wanted to make something new rather than
embracing any orthodoxy. . . . Determined to be forward
looking, we were extremely susceptible to any new
movements in the arts. . . . The ceramic works of people
like Isamu Noguchi and Pablo Picasso were introduced
to Japan. For us they were a tremendous shock. . . . We
understood that we wanted to develop in Japanese terms
something that had not previously existed— to follow our
own hearts, without being guided by the materials or
techniques of foreign artists. We experienced that work
as something truly new, like a sort of miracle. Thus, if we
talk about influence, [the foreign artists’ works] showed
us that we had to liberate ourselves from the spell of
ceramics, and to do this by our own hands as potters.”

Noguchi never again worked in ceramics, though the
early discoveries he made in clay set the course he followed
for some of his most prominent later work, including the
“rockeries.” The Japanese ceramicists, however, contin-
ued to work in clay over the course of their careers. To
these artists, Noguchi’s passionate search for identity
through his work with clay gave them the confidence
and courage to themselves embrace their native earth
as a medium for making art.

"Determined to be forward looking, we
were extremely susceptible to any new
movements in the arts. Just at that time
the ceramic works of people like Isamu
Noguchi and Picasso were introduced
to Japan. For us they were a tremen-
dous shock.... We understood that we
wanted to develop in Japanese terms
something that had not previously
existed— to follow our own hearts, without
being guided by the materials or tech-
niques of foreign artists. We experienced
that work as something truly new, like
a sort of miracle. -yagi kazuo

EXHIBITIONS 17 ASIATICA FS | G 2003

PsrtriGrs in CollGcting\/\/hii0pij|-5yipg

a decades-long shared passion for calligraphy and
painting, Sylvan Barnet and William Burto have
assembled one of the finest collections of
Japanese religious art in the West.

It is, by now;

a familiar story to lovers of calligraphy

Sylvan Barnet and William Burto began their collection in the 1960s, when they were newly-minted
professors. They started with ceramics. While at a dealer’s looking for more of the same, they
chanced upon an eighteenth-century scroll by Jiun Onko. The two remember the encounter vividly.

“We had no idea that we’d be interested in calligraphy — we were there to look at ceramics —
but behind his desk was this dynamic black-and-white hanging scroll. When we both saw it we
looked at each other, eyes wide, mouths open — it was so powerful — it hit us immediately,” said
Barnet in a recent interview.

They bought the scroll and began a lifelong pursuit of calligraphy and Buddhist works, which
has resulted in one of the finest such collections in the West. A selection of their works will join
related material from the Freer collection in the upcoming Sackler exhibition. Faith and Form:
Selected Calligraphy and Fainting from the Japanese Religious Tradition. The show inaugurates

In comparison with oollections with similar points of emphasis,
the Barnet and Burto collection equals and probably surpasses most
private and public efforts in the West during the last twenty-five years.

a developing series of exhibitions designed to combine notable themes found in the Freer col-
lection of Japanese art with corresponding interests identified in important American collections
of Japanese art, both public and private.

Indefatigable and astute collectors, Barnet and Burto are also Ffarvard-trained scholars of Eng-
lish literature and theater. Retired from academia two decades ago, they’ve continued to gather
fine works with great passion. Their collection of approximately 150 works takes in a wide range
of East Asian objects, from ceramics, haniwa figures, and Buddhist implements and sculpture to
a substantial grouping of works by the contemporary photographer Fliroshi Sugimoto. But the
collection is dominated by calligraphy, usually rendered as a manifestation of some aspect of
Japanese religious sensibility. In addition, their taste for Buddhist paintings has resulted in a dis-
crete body of rare, important works including a thirteenth-century Taizokai (Womb World) man-
dala — widely regarded as the earliest such mandala outside of Japanese holdings.

Barnet once described their collecting process as first an instinctive sense about the rightness
of a work and then the desire to “learn the sources of our pleasure.” The result has been cumu-
lative; a superb collection built by evermore informed and informative collectors. In compari-
son with collections with similar points of emphasis, the Barnet and Burto collection equals and
probably surpasses most private and public efforts in the West during the last twenty-five years.

Clockwise from top: hand-
scroll segment from B&B
collection; bowl on display
at home; Barnet, Burto
relaxing with their poodles;
sculpture from their collec-
tion; detail of a Freer sutra;
detail of a sutra from the
B&B collection

EXHIBITIONS 20 ASIATICA FS|G 2003

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EXHIBITIONS 22 ASIATICA FSIG 2003

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Clockwise from left: Freer
mandala, detail of Barnet
and Burto Womb World
mandala, B&B calligraphy,
detail of Freer sutra. Freer
calligraphy, B&B calligraphy

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Both men bring lifetimes of

practice in wordcraft to their passion for art.

Clockwise from left: bowl
on display at home, regal
poodle reclining, Freer
hanging scroll, Freer sutra,
Barnet and Burto on the
porch. Freer calligraphy.

In addition to an extensive list of publications related to the study of historical and critical as-
pects of English literature, Barnet’s A Short Guide to Writing About Art, now in its seventh edi-
tion, has achieved “classic” status. Their scholarship is wide-ranging; together they’ve penned sev-
eral publications in the field of Japanese art and have had a hand guiding the held. According to
James Ulak, chief curator of the Freer and Sackler, “Bill and Sylvan have generously read manu-
scripts drafted by curators and academicians, and have not only caught some factual errors but
have also offered valuable stylistic suggestions. ”

Faith and Form will explore resonances between Freer Japanese treasures and elements of
the Barnet and Burto collection, allowing close study of comparable types. More than a dozen
important illuminated sutra fragments preserved in hanging scroll formats, many reflecting the
collectors’ taste for exquisitely prepared papers and subtle illumination, will be juxtaposed with
hve of the Freer’s most distinguished sutras in handscroll form. The Barnet and Burto portrait of
the monk Shun’oku Miyoha will be seen for the hrst time with the Freer portrait of his con-
temporary, Getsuan Shuko, offering a unique opportunity for consideration of the qualities and

“Our first visit to the Freer was in 1964. We were terrifically impressed. We
heard that we could go and see things in storage, so we made an appointment.
Someone took us into the storeroom and let us see things for hours. Imagine!”

purposes of Zen monk portraiture. Burto says, “This is the great period for this kind of portrai-
ture, and these are the only two portraits from this era in the U.S. Ours has a better face, I think,
more interesting, but the Freer one has much more calligraphy, which is more legible.” Fine man-
dala paintings from both collections will be on view; Barnet and Burto ’s rare Taizokai mandala,
in gold on indigo silk, will be grouped with a pair of icons considered to be very close in date:
the Freer Ryokai mandala, also in gold but on purple silk. Added to this ensemble will be the
Freer’s large, full colored Taizokai mandala, thought to date from the 1260s.

The Freer has benefited from Barnet and Burto ’s keen eyes and goodwill for many years; in
1998, on the occasion of the Freer’s 75th anniversary, they donated a rare handscroll fragment
illustrating “Stories of the Noblemen of Heike” {Heike kindai soshi) dating from the thirteenth
century. In fact, Barnet and Burto ’s association with the Freer goes as far back as their earliest days
as collectors. Burto said recently, “Our first visit to the Freer was in 1964. We were terrifically
impressed. We heard that we could go and see things in storage, so we made an appointment.

Someone took us into the storeroom and let us see things for hours. Imagine! It was invaluable.”

Now, through Faith and Form, they are returning the favor, in effect inviting visitors of the Freer
and Sackler into their own private storeroom, sharing much more of the collection that began with
that black-and-white scroll decades ago. Wide eyes and open mouths are again expected.

EXHIBITIONS 25 ASIATICA FS|G 2003

HIMALAYAS

COMING TO THE SACKLER THIS FALL: HINDU AND BUDDHIST

TREASURES FROM THE MOUNTAINS OF INDIA, NEPAL, AND TIBET

Known as the “roof of the world,” the Himalayas are arguably the most magnificent moun-
tains in the world. Hindus and Buddhists alike consider them sacred. The people who inhab-
ited tliis remote region, devout Hindus and Buddhists, gave form to their beliefs in paintings
and sculpture that for cenmries served as aids to worship. One hmidred forty of these objects,
from the tliree regions of the Himalayas— India, Nepal, and Tibet— will travel to the Sadder
this fall from the Art Institute of Chicago, where the show was organized. Himilayas: An
Aesthetic Adventure is curated by renowned scholar Pratapaditya Pal. Created between the
seventh and nineteenth century, most of these works have never been publicly exliibited.

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TIBET

Kalachakra Mandala

Created to this day in sand by iiving monks, the Kalachakra
"wheel of time” Mandala is a paradigm of the cosmic order.
This type of mandala, with its large number of Hindu deities,
might have been initially created as a means of staving off
attacks from Islamic forces in the tenth century. Its suc-
cessive circles, many colors, and spokes "convey a sense
of continual motion," according to Dr. Pal.

Mystic Master Humkara

Humkara was a Buddhist master, acknowledged on this
thangka as a "knowledge-holder" in an inscription. A monk
sits in the lower left corner and the entire scene is set at
Silway Tsai, one of the eight great cremation grounds. Here
he sits informally, bearing the thunderbolt and skull cup,
his attributes. His features are so individual that it is possi-
ble that a real yogi sat as a model for the work.

NEPAL

Sun God

A bit of mystery surrounds this figure— is it the sun god
Surya? The moon god Chandra? Scholars know it is cer-
tainly from Nepal and is Hindu. He likely once held lotus-
es, attributes of both the sun god and the moon god. This
might be the largest Nepalese metal deity image yet
found; it likely was a principal icon in a shrine.

EXHIBITIONS 29 ASIATICA FS|G 2003

INDIA

Panel with scenes from

THE LIFE OF THE BUDDHA

The historical Buddha, Siddhartha, achieved enlightenment
after a long fast that left him severely emaciated. Here he
is shown meditating at the moment he reached supreme
awareness, According to legend, girl named Sujata offers
him rice boiled in milk; she is shown at right with a bowl in
her hands.

EXHIBITIONS 30 ASIATICA FS|G 2003

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NEPAL

Chakrasamvara

AND VAJRAVARAHI

Sex, ecstasy, and spiritual enlightenment are all in evidence
in this luminous sculpture. The god Chakrasamvara is
passionately entwined with his wife Vajravarahi. She has
abandoned herself to pleasure and has flung one leg
around her husband's waist in the "tree-climbing posture"
described in the Kamasutra of Vatsyayana. The couple
smiles in spiritual bliss.

Goddess Sarasvati

Sarasvati, seated here with a book in her hand, is the Hindu
goddess of learning. She is also the patron deity of musi-
cians and her two arms would have signaled that origi-
nally, when they held a stringed instrument. The master
sculptor has woven all of her facets into this sculpture,
Sarasvati is also a river name; the Sarasvati was a sacred
river, now long lost. The surrounding lotus foliage alludes
to her watery connection.

Goddess Tara

This lovely Buddhist goddess is a savior popular in Nepal
and Tibet; many a devoted poet has penned tributes to the
goddess and her sturdy, sensuous form. “Your body, un-
moved by defilements, is firm like a mountain/Well grown.
../Full-breasted. . . /Venerable Tara— Homage to you!" wrote
one early poet.

AFTEB^THE MADNESS

When his family’s dynasty was overthrown, the young Ming prince

went into hiding, became a Buddhist monlc, suffered a mental
breakdown, and then emerged as an eccentric master painter and
calligrapher with a dark, daring edge.

His calligraphy and poetry were promising from
childhood. But in 1644, Manchu armies invaded
China and Bada's family was on the wrong side of
those forces. Bada Shanren (1626-1705) lost most of
his family and all of his wealth and status. As a
teenager, he sought refuge in the priesthood and
remained for thirty-plus years. He decided to re-
turn to secular life, thoughts of which may have
caused his period of “madness” (some say real, some
say feigned). Reports say Bada “went mad, sud-
denly laughing aloud or crying sadly all day long.”
After recovering from this despair, Bada returned
to his art and became renowned in painting and
calligraphy The museums feature his work in two
exhibitions this year; After the Madness: The Secular
Life, Art, and Imitation of Bada Shanren and In Pursuit
of Heavenly Harmony: Bada Shanrens Painting and
Calligraphy from the Bequest of Wang Fangyu and Sum
Wai. The first looks closely at a handful of works
created after his madness as well as later forger-
ies; the second gives a longer view of the master’s
work over the course of his life. More than three
hundred years later, Bada Shanren continues to
inspire and provoke us all.

Lotus (leaf 8), ca. 1665.
Among the earliest sur-
viving works by Bada, the
eight leaves of Lotus reveal
many of the artist’s Buddhist
names— either in signatures
or seal impressions. Sym-
bolizing Buddhist ideals of
purity and rebirth, lotuses
remained an important
subject for Bada through-
out his career.

EXHIBITIONS 37 ASIATICA FS|G 2003

Combined album of painting and
calligraphy, ca. 1693-96. Album
of nine leaves; ink on paper. Bada
wrote these leaves ot calligraphy,
bearing quatrains for landscape
paintings. The writing is both highly
finished and seemingly casual at
the same time.

Below: Rubbing of the Holy Mother
Manuscript with transcription and
colophon in running-standard script,
ca. 1698. Composed in 793, the
original Holy Mother Manuscript,
which describes the apotheosis of
the Holy Mother, was lost, but rub-
bings of the stone were subsequent-
ly produced. This rubbing appar-
ently belonged to Bada and served
as the source for his transcription.

POEM 1:

ONCE I LOOKED IN THE HEART OF A LOTUS SEED,
AND FOUND A LOTUS FLOWER WITH ITS ROOTS;
BREAKING OPEN LOTUS PODS ON RUOYE CREEK,
THE FINE YOUNG GENTLEMEN IN THIS PAINTING.
POEM 2:

YELLOW BAMBOO AND MORE YELLOW BAMBOO,
COMING AND GOING ACROSS TONG2HOU:

IN TONGZHOU WHEN DIVIDED INTO TENTHS.

A SINGLE STEM EQUALS A PAIR OF CARTS.

POEM 3:

THEY RAISED SONS AT THE KAIYUAN TEMPLE,
TAKE A LOOK, NOW ALL ARE WHITE OF HAIR;
FLIPPING TO STRIKE A SPARROW-HAWK POSE,
WHY DON'T THEY PLANT SOME WILLOW TREES?

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Lotus (leaves 5, 4, 6), ca. 1665.
The exquisite album of ink-
lotuses display Bada's enor-
mous talent during his early
years as an artist, foreshadow-
ing his transition from Ming-
royalty-turned-Buddhist-monk
into a professional Qing-
dynasty painter and calligra-
pher. At left: Lilac Flowers, ca.
1690. Although Bada occasion-
ally painted lilacs, the flower
remained an unusual subject
for the artist. That Bada used
such deep, opaque colors is
also highly uncharacteristic;
only one other similar work
by him is known.

The purchase of 12 outstanding works
of calligraphy and one painting by Bada
Shanren from the collection of Wang
Fangyu and Sum Wai was made possi-
ble by a major grant from the E, Rhodes
and Leona B. Carpenter Foundation.
Conservation supported by a grant
from the Henry Luce Foundation.

EXHIBITIONS 39 ASIATICA FSIG 2003

Lotus and Ducks, ca. 1696.
Bada devoted a great deal of
effort to mastering the theme
j of lotus and ducks, exploring

I various methods of depiction.

I In this painting, the gangling
lotuses are balanced by the
soaring rock face, while the ex-
pressive gaze of the two juxta-
posed ducks invokes a quality
of human emotion. Image be-
low taken from Rabbit, undated.

EXHIBITIONS 40 ASIATICA FS|G 2003

Falling Flower, 1692. Created
after Bada had left the monk-
hood, the leaf Illustrates the
artist's audacious approach
to composition and his abid-
ing concern with ink tonality.
At left: Bamboo, Rocks and
Small Birds, 1692. The painting
bears inscriptions for the first
month of summer in the renchen
year (May 16-June 14, 1692),
and sheshi, which means
"involved in affairs."

SIGNATURES AND SEALS
Chinese artists change
their pseudonyms many
times throughout their
lifetimes; the practice is
ongoing even today.

SEALS

These seals are from
Bada's monastic period.
They are his monk
names Fajue (left) and
Shi Chuangi Yin (right).

SIGNATURES

Bada used more than
a dozen names through-
out his lifetime, but Bada
Shanren is the name best
known and longest used.
This is Bada Shanren's
signature.

MONASTIC NAMES
Both of these seals
depict the word "donkey,"
a name Bada used
briefly. The moniker
is likely a reference to
his monk years and to
the stubbornness or
impossibility of life.

NOTE EN ROUGE. L' tVENTAIL, PROBABLY 1884 HARMONY IN VIOLET AND NOCTURNE; SILVER AND OPAL-CHELSEA, CA, 1880-84

AMBER. 1883 OR 1884

n the early i88os, two London art installations made history.

They were remarkable not only because they focused on the work of a single
artist, a rarity at the time, but also because that artist directed nearly every
aspect of the exhibits: how the works were hung and how they were lit; the
colors of the walls, moldings, and curtains; what sort of furniture was to be
included; and the arrangement of flowers and plants. The artist even specified
the guard’s wardrobe: “...Grey coat with flesh-coloured collar and cuffs, grey
trousers, grey stockings, and fashionably cut leather pumps.”

This perfectionist was James McNeill Whistler. He created the first instal-
lation, “Arrangement in White & Yellow,” for an exhibition of 51 etchings in
1883. “Arrangement in Flesh Colour & Grey” was developed for a show-
ing of 67 paintings, watercolors, and pastels in 1884.

In November of 2003, the Freer will mark the centenary of Whistler’s death
with a major exhibition titled Mr. Whistler’s Galleries. The exhibition is a col-
laboration with the Virginia Museum of Fine Arts and is
cocurated by Kenneth John Myers and David Park Curry. It
will re-create these two influential presentations, offering
twenty-first-century museum visitors an opportunity to ex-
perience the excitement, surprise, and wonder that nineteenth-

This painting of the Louvre in the 1880s

century viewers might have felt when they found themselves in Whistler’s
innovative and influential exhibitions.

Just as artistic styles and tastes change, so does the art of displaying art. From
the invention of the picture gallery in the early Renaissance until the last quar-
ter of the nineteenth century, paintings were generally displayed “salon style.”
Gallery walls were almost completely covered, with big paintings placed in the
center of a wall, and smaller works placed around them, from floor to ceiling.
Frames touched frames, leaving no room for labels. By the 1960s, salon-style
hanging had gone the way of the dodo. Up-to-date museums had largely
adopted the “white cube” popularized by the Museum of Modern Art in New
York. The main features of the cube are familiar: white walls, neutral lighting,
paintings centered along the best sight line on largely empty walls, and discrete
labels next to each painting. Whereas salon-style hanging emphasizes the
ensemble, “white-cube” installations focus the viewer’s atten-
tion on each painting as a self-contained aesthetic object,
implicitly suggesting that each is a masterwork.

When Whistler arrived in Paris as a young art student
in 1855, neither Paris nor London had a well-developed

shows a typical salon-style installation.

P(NK: LA PETITE MEPHISTO. CA. 1884

RED AND BLUE: LINDSEY HOUSES. CA. 1882-84

NOTE IN PINK AND PURPLE;
THE STUDIO, 1883 OR 1884

commercial art market, and the only reliable route to professional recogni-
tion and success was by showing works at the annual exhibitions controlled
by the Academy des Beaux- Arts in Paris and the Royal Academy in London.
Exhibitions at both the Paris Salon and the Royal Academy were hung salon
style, and although Whistler sent etchings and paintings to one or both acad-
emies annually from 1859 until 1865, by the early 1870s he was deeply frus-
trated by both the aesthetic conservatism of the selecting jurors and by his
inability to control where or how his submissions were displayed. After
1872, Whistler stopped submitting works to the Royal Academy, and he did
not submit to the Paris Salon again until 1882. The timing of this abandon-
ment was no doubt influenced by his 1871 invention of the low-toned
evening landscapes he titled “nocturnes,” which are particularly difficult to
display and light. As the art critic James Jackson Jarves explained in an 1879
review, a Whistler nocturne has to be displayed “precisely in the light and sit-
uation for which it was designed by the artist, [or] it seems to be as formless
and void as the creative principle in a state of chaos.” In
comparison to the academies, private art galleries offered
Whistler much greater control over the selection, installa-
tion, and lighting of his work. Whistler painted his first
nocturnes in 1871. That November he exhibited two of

Whistler himself organized this installation,

them in a group exhibition at the nonprofit Dudley Gallery in London. From
that time on, Whistler relied on private galleries as his primary venues for
publicizing and selling his work.

After 1871, Whistler participated in numerous group exhibitions at pri-
vate galleries and in many of the great late-nineteenth-century expositions,
but it was his one-man shows that had the greatest impact on exhibition
design. Except for posthumous “memorial exhibitions,” single-artist shows
were still uncommon in mid-nineteenth-century Paris and London. Whistler
organized his first one-man exhibition in 1873; he worked with a gallery.
A year later, he underwrote his second himself, taking a year’s lease on empty
gallery space. The exhibition included thirteen major paintings, thirty-six
drawings, and fifty etchings, and introduced several of the innovations that
would characterize Whistler’s later installations. The walls were painted
gray, and the floor was covered with yellow mats. Whistler installed white
blinds beneath the skylights to reduce glare and duplicate the conditions in
his studio. Flowers in blue pots were scattered about the
room, as were couches and chairs covered in light maroon
cloth. The catalogues were wrapped in coarse brown
paper covers. Art works were spaced more generously
than in a salon-style hang.

on view in London in 1898.

EXHIBITIONS 45 ASIATICA FS|G 2003

Whistler almost certainly lost money on the 1874 exhibition. And when
his financial situation deteriorated in the later 1870s — he went bankrupt in
1879 — he apparently concluded that the responsibilities and risks of running
his own gallery outweighed the potential rewards. But even as Whistler was
sinking into bankruptcy, the organization of the London art market was rap-
idly changing. The primary reason Whistler mounted the 1874 show himself
was that at that time there were few substantial commercial art galleries in
the city and none of them were willing to put his installation ideas into prac-
tice. That situation changed with the opening of the Fine Art Society in 1876,
the Grosvenor Gallery in 1877, and the Dowdeswells gallery in 1884. The
expansion of the commercial art market provided Whistler with several con-
genial alternatives to the Royal Academy, enabling him to market and pub-
licize his work without having to mount his own shows.

Whistler repeatedly sent paintings to group exhibitions at the Grosvenor
Gallery, but the gallery didn’t allow him to design his own installations.
The Fine Art Society and the Dowdeswells did, allowing
Whistler to organize four exhibitions of his work from
1881 to 1886. As designs, these were the most ambitious
and influential art installations Whistler ever created. As a
series, they publicized or introduced numerous innova-

Another exhibtion that Whistler helped organize

tions that have since become commonplace, including indirect lighting,
color-coordinated walls, uniform framing, elegant spacing of the art objects,
large banners outside the exhibition space, the sale of specifically designed
catalogues, and elaborate evening openings.

Sadly, there are no known images of any of the 1880s exhibitions, but
something of their design is suggested by two rare photographs: one of an
exhibition that Whistler organized for the International Society of
Sculptors, Painters, and Gravers in London in May 1898, the other show-
ing the Whistler Memorial Exhibition that Charles Lang Freer helped
organize at the Copley Society in Boston in 1904. Thomas Dartmouth's
long review of the 1898 installation makes clear that, a quarter century
after Whistler’s 1874 installation, his innovations were still unusual enough
to merit comment. As Dartmouth explained, the paintings were hung in
“large square rooms from whence the light of glaring day is subdued by
muslin blinds and white velaria, so that the tone of light is already refined
before it reaches the pictures, and thus every work is made
to look its very best. Each picture is hung separately and
only occasionally do two frames touch, nothing is hung
too high nor too near a fighting neighbor, all the modern
theories of the exhibition of pictures are carried out, and in

this one at the Copley Society in Boston in 1904.

EXHIBITIONS 46 ASIATICA FS|G 2003

our judgment the result is both restful and stimulating: restful because the
spectator is not troubled with more than one work to examine at a time,
and stimulating because the variety of method of work is accentuated with-
out the pictures, so to say, ‘swearing’ at one another.”

The Freer’s upcoming exhibition will partially re-create two of the most
famous and influential of the 1880s installations. The most widely seen of
Whistler’s art installations may have been the “Arrangement in White &
Yellow,” which Whistler designed for the exhibition of fifty-one etchings of
Venice and London at the Fine Art Society in February 1883. Whistler describ-
ed the installation in a letter to the sculptor Waldo Story: “white walls — of
different whites — ^with yellow painted mouldings — not gilded! — Yellow vel-
vet curtains — pale yellow matting — Yellow sofas and little chairs — lovely lit-
tle table yellow — own design — ^with yellow pot and Tiger lilly [sic]! Forty
odd superb etchings round the white walls in their exquisite white frames —
with the little butterflies — large White butterfly on yellow curtain — and
Yellow butterfly on white wall — and finally servant in yel-
low livery.” As Deanna Bendix has more recently argued,

Whistler’s chrome yellow design furnished “the keynote for
the ‘Yellow Nineties,’ becoming “a symbol for all that was
bizarre and outrageously modern in art and life.”

A 1929 "white cube” style installation

In order to suggest the range of Whistler’s accomplishment as an exhi-
bition designer, the Freer will also install a version of “Arrangement in
Flesh Colour & Grey,” which Whistler originally designed for the exhibi-
tion of sixty-seven oils, watercolors, and pastels at the Dowdeswells
gallery in May 1884. He covered the upper walls of the gallery with flesh-
colored serge that newspaper reviewers variously described as shell pink,
salmon, rose, and crushed strawberry. Whistler said it reminded him of a
Venetian palazzo. He had the lower walls painted creamy white. Moldings
and chairs were white, rose, or gray. Gray matting covered the floor and a
gray velvet valance embroidered with a silver-and-flesh butterfly (Whistler’s
famous signature mark) covered the mantel. Rose and white planters
holding azaleas and white marguerite daisies were scattered around the
room. This was the show in which the guard was dressed in a “grey coat
with flesh-coloured collar and cuffs, grey trousers, grey stockings, and
fashionably cut leather pumps.”

Guards at the Freer this fall will be in regulation black —
not pink or gray. No fancy leather pumps. But visitors
will nonetheless have a chance to glimpse a bit of nine-

B teenth-century style. And Mr. Whistler will again have a
hand in the hanging of his works.

lAVy -. in the Museum of Modern Art.

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ACQUISITIONS •-: 51

The Dancing Creator

Moving furiously in a halo of flame and cosmic energy, this incarnation of I the Lord
of Dance wm add its unique power to the Freer's Ghola bronze sculptures.-

Sometime in the tenth century, south Indian
sculptors conceived a remarkable form to
depict Shiva Nataraja, the Lord of Dance, who
creates, maintains, and destroys the universe.

By the twentieth century, connoisseurs the world over recognized the Chola
Nataraja as one of the world’s great sculptural forms. Today, the Chola Nataraja is
widely regarded as the quintessential icon of Indian art and culture.

The Freer has long enjoyed a small but outstanding collection of Chola bronzes
centered upon the renowned Freer P'arvati, one of the most accomplished of all
bronzes created on the subcontinent. Yet the collection lacked the unique formal
power and symbolic resonance of a Nataraja. When Julian Raby and curator Debra
Diamond first looked at this Nataraja together, they immediately pictured it next to
the Freer Parvati and realized how profoundly it would affect the museum’s presen-
tation of Chola aesthetic and spiritual aspirations. It will enter the collection soon.

Even before Chola sculptors materialized the Nataraja form, poet-saints in south
India sang of Shiva’s sublime manifestation as Lord of Dance. Between the sixth
and ninth century, they expressed the deity’s awesome power and beauty in verse:

He dances, a whirl/of motion, /the great lord/bearing fire, crowned/with the

crescent and/ with Ganga,/as his golden anklets chime/and his serpents dance, too.

Just as the poet-saints sought to put this vision and its emotional and spiritual
impact into words, so Chola sculptors worked to make this form manifest in bronze.

The perfection of the lost-wax bronze casting process in tenth-century south India
enabled sculptors to realize a lightness of form and dynamism of movement not pos-
sible in stone.

Nataraja stands lightly upon the dwarf of ignorance and raises his left leg high
across his body in a dance movement. With a serpent draped around one wrist, the
ascetic god holds a waisted drum to beat the world into existence and a flame to
signify its inevitable destruction.

The Freer bronze exemplifies the Chola Nataraja in its early stage of formation.

The modeling is particularly supple, the expression is gentle, the halo is oval rather
than round (eventually the standard form), and the flames exhibit three, rather than
the more standard four, prongs. Natarajas, including this one, often exhibit a grace,
even a modesty, that is frequently lost in the later, more majestic images of the danc-
ing Shiva. It appears that later in the dynasty, as the Cholas extended their empire,
a stylistic change toward a more majestic — but often more imperious and distant —

Shiva Nataraja emerged.

The achievement of the Chola bronze casters is intrinsically related to a shift
within south Indian Hindu practice. If the traditional immovable stone deities
within temple sancta required Hindus to travel to the gods, ritually enlivened
portable bronzes emerged from temples to grace their devotees. Adorned in
silks and garlands and heralded with music and prayers, these bronze gods
traveled within grand processions to the delight of local populations. This Shiva
Nataraja, once paraded through a temple town in south India, then buried and
lost for centuries, has now emerged for its final procession across the United
States in the Sensuous and Sacred exhibition. It will return in 2004 and will be
on permanent display.

ACQUISITIONS 52 ASIATICA FS|G 2003

■p’

THE AMI DA Bl

A Sculptural Rebirth

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Born in the renaissance following a devastating war, a rare fourteenth'century Japanese Buddha enters the Freer collection.

A military regime rises to power —

fearless, ruthless, careless of religious icons
and ancient treasures. During the roiling
devastation of the accompanying war, the
warrior-leaders destroy sacred temples and
priceless sculpture, paintings and calligra-
phy. The year was 1180; the country was
Japan. In a sweep of clan warfare between
the powerful Taira and Minamoto, the nas-
cent country witnessed the destruction of
temple after temple, along with countless
irreplaceable objects of worship. The ancient
capitals of Nara and Kyoto were particu-
larly hard hit. In the wake of that war, the
twin components of great religious fervor
and a massive rebuilding program combined
to produce a renaissance of Japanese Bud-
dhist sculpture that revolutionized the form.
This Buddha, recently acquired by the Freer,
is a fine example of the revolutionary sculp-j
tural style that Emerged during that rebirth.

Known as Amida Nyorai (Universal Ford,
or, popularly, Ford Amida) and carved
early in the fourteenth century, this Buddha
reflects the technical virtuosity of the Kei
family of sculptors, known for their finely
detailed, naturalistic work and technical
innovation. Japanese sculpture had been
created primarily in wood since the ninth
century and was generally created from a!
single block (ichiboku zukuri, or single-
block construction). Over time, a shift to
using joined elements (yosegi zukuri) al-
lowed for great flexibility. The attention to
precise detail made possible by assembling
a whole sculpture from carefully worked
units allowed artisans to achieve striking,
often realistic effects. The unwelcome oppor-
tunity presented by the devastation of the
temples combined with a desire for spiri-
tual comfort resulted in the need for reli-
gious iconography and was expressed in an
explosion of realism in sculpture, a particu-
lar achievement of the Kei family. Typically,
a single piece of cypress was split vertically,
hollowed out, and meticulously carved. Cry-
stal was set from behind to create glittering

eyes and in the most important icons, sutra
texts were placed inside the cavity, as is the
case here. The body was then joined. Seams
and joints were covered in a fine veneer of

hemp cloth infused with lacquer, often

mixed with sawdust; moist
during application, the cloth
became part of the sculpture
itself and allowed the sculp-
tor to further enhance the
realism of the figure. Finally,
lavish application of lacelike
cut gold in complex patterns
mimicked garment designs.

Technical and artistic virtuosity were here

This detail from a seventeenth-

in service to a most comforting form of Bud-
dhism, the doctrines of the Pure Land Sect,
which gained great popularity during the

century screen depicts the
battle at Uji Bridge to the south
of Kyoto in 1184. This scene of
violent warfare in proximity to

dangerous and frightening war years. (The
war was understood as only one, albeit dra-
matic, manifestation of a general age of

the famous temple, Bybdoin,
suggests the danger to which
temples and treasures were ex-
posed in the late 12th century.

apocalypse.) Followers were assured safe
passage to paradise when invoking the
name of Amida in simple, repetitive prayers.
Death was not, perhaps, as terrifying when
the worshiper is confident that the Amida
Buddha would, himself, descend and wel-
come one to paradise. This Buddha is shown
at that moment of descent and greeting, a
frequent subject in Japanese painting and
sculpture — the Buddha leans toward the
believer, hands forming the “welcome” ges-
ture, or mudra. Cloaked in the patterned
robe of a monk, the figure is gentle and beck-
oning, tranquil and regal simultaneously.

This devotional Buddha joins several con-
temporaneous sculptures in the Freer, in-
cluding four guardian figures. Another piece
— a seated bodhisattva also in the collec-

Deep inside the cavity of this
Buddha a sutra once resided.
This practice is not uncom-
mon, particularly in important
icons. The slim slips of paper
were imbued with spiritual sig-
nificance-dedications, prayers,
hopes for safe journeys or a
monarch's victory. The sutra
that was once inside this Bud-
dha is currently undergoing
analysis by a team of conserv-
ators, conservation scientists,
and scholars at the Freer and
in Japan. The documents below
have traveled with the Buddha
for decades. At left, a conser-
vator's signature, on the reverse
of an undated report: center,
a wooden block inscribed with
a condition report dated 1956;
right, another condition report,
dated 1889.

tion — was carved by Kaikei, a member of
the same family of artists who created this
piece. After conservation treatment, the
beckoning Buddha will be installed and will
again welcome — and no doubt comfort —
visitors and admirers.

ACQUISITIONS 56

ASIATICA

FS I G 2003

WASHINGTON 0 C

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WHAT LIES INSIDE? ^

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When the museum acquires
a new work, detailed analy-
sis on a variety of levels
must be done. X-rays pro-
vide one avenue for schol-
ars and conservators to
follow in their quest to
discover or confirm dat-
ing, reveal previous repairs,
and develop conservation
plans as necessary. Vir-
tually all new acquisitions,
with the exception of cer-
amics, undergo X-ray analy-
^ sis, (Ceramics do not, as .
the process can alter the '
probable dating.)

X-rays tell curators and
scholars how much repair
has been -done previously
and how the piece was
manufactured. These
clues help establish the
date and authenticity of
the work.

Fuzzy outlines around '
the nails in the upper
shoulder mean the nail
has rusted. The rust has
leached into the wood,,
a process that takes
more than one hundred ,
years, thus indicating
an old repair.

The nails at the lower
portiori, with their round
heads and perfect unifor-
rrjity, are modern; the
repairs here (essentially,
securing the IdtUs petals)
are more recent than
those in the shoulder: ,

The bands at the bottom
are gilt-copper, part of the
decoration of the base.

Focus

Out of the Galleries + Beyond the Walls

DANCING, HUNTING TREASURE, BUILDING KITES, MAKING DRAGON
PUPPETS-THE CHILDREN WHO JOIN THE SACKLER'S POPULAR FAMILY
PROGRAM LEARN WHAT’S FUN ABOUT ART.

There they were, dozens of little visitors — sporting
Barbie shoulder bags and baggy Cargo pants — leap-
ing across the boundaries of culture and continent,
straight into China’s Tang dynasty. With noses
pressed against the display case in a hallway of
the Freer, they scrutinized the bronze back of an
eighth-century Chinese mirror, examining its
finely wrought ornamentation as if they were con-
noisseurs. There it was — a dragon dancing in the
clouds! “Huh, no wings,” mused one child. “So,
that’s why Chinese dragons need pearls,” another
observed to her mother. They peered into their
activity books or listened as parents read aloud.
Right. Magical pearls, held in their mouths or
tucked under their chin whiskers, endow these
wingless dragons with the power to fly. “Cool.”
On a recent Saturday afternoon, 160 visitors,
young and old, found themselves immersed in
the Sackler’s popular family program known as
ImaginAsia: part classroom discussion, part gallery
exploration, and part hands-on art project. “It
makes whatever is in the museum fun, adventu-
rous, and interesting — ^not intimidating,” says James
Ulak, chief curator. “The programs are turned into
hunts — little mysteries — looking exercises that
teach children attentiveness and how to slow
down without cutting short the excitement.”
Supplied with pencils and activity books writ-
ten specifically for this single weekend, Saturday’s
ImaginAsians scoured the museums searching
for dragons and lions. They found the lion with
a peculiar canine snout. And the lion biting his
leg. The dancing dragon. And the snarling drag-
on. They looked at earthenware and bronze. At a
mirror and a chariot fitting. They ventured down
hallways, up staircases, and through the galleries.

Right. Left. “There it is! I found it!” And then: “It’s
silver. I’m sure the teeth are silver!” Finally: “How
do you spell silver? S-I-L-V. . . then what?”
Behind these adventures — with an attenuated
mustache and a Mandarin-collared vest — is
Stephen Eckerd, coordinator of ImaginAsia for the
past five years. His passion for Asian art and cul-
ture reaches back to his rural West Virginia child-
hood, where he was reared on the imagery of
Asia. He recalls the strand of Egyptian glass
beads his mother wore, a silver scarab bestowed
on him by a great aunt, a home adorned with
Japanese lanterns and Chinese willow ware, and
his grandfather’s extravagantly illustrated transla-
tion of The Arabian Nights. After college Eckerd
joined the Peace Corps and began a lifelong
involvement with Nepal, where he maintains an
apartment in Lalitpur and annually returns. “He is
one of the most curious people I’ve ever known,”
Ulak observes. “He gets excited about all sorts of
things, but it’s a highly disciplined enthusiasm.
He doesn’t clutter up the educational process with
his immense, encyclopedic base of knowledge.”
The ImaginAsia classroom reverberates with
Eckerd’s enthusiasms. The room is generously
adorned with Nepalese face masks, Indonesian
and Chinese kites, prayer beads, folk toys, and
even a sequin-studded poster of a Hindu deity —
bought by Eckerd at a barbershop in Birgunj. As
participants assembled around low tables to begin
“Dancing Dragons,” the Chinese New Year pro-
gram, the soft-spoken Eckerd struck a large Cliinese
gong and posed a simple question: “What can you
tell me about dragons?” Hands shot up. “Eire.”
“Scales.” “They have wings.” “They eat people.” Eckerd
nodded. “True, true,” he affirmed. “But only for West-
ern dragons!” Soon they would see for diemselves:
Chinese dragons are a breed apart. Moments later
the first group of children and adults continued >

1 ,

Clockwise from top:
Stephen Eckerd, dancing
deity, children viewing
Indian art, children in
the classroom, Stephen
Eckerd and Ki Loo share
a laugh, projects made
by ImaginAsians, two

toys from Eckerd’s toy
collection, participants
creating art. Above:
Nandi: the bull, ready to
be rubbed for good luck.

FOCUS 60 ASIATICA FS|G 2003

Focus

IMAGiNASiA CONTINUED FROM PREVIOUS PAGE

sets forth on what Eckerd called their “journey.”

In 2002 approximately 6,000 people embarked
on the two-hour ImaginAsia journey; 5,000 oth-
ers worked independently with the activity books
distributed at museum information desks, and
another 6,000 people took part in dance demon-
strations and classes held in the Enid Haupt gar-
den and elsewhere in the museum. Offered on
weekends and weekdays, the programs, for chil-
dren between the ages of six and fourteen (always
accompanied by an adult), are free and do not
require advance registration, although groups of
more than eight are asked to call ahead. In the
last five years, ImaginAsia staff — Eckerd, his
assistant Li Koo, and their
interns — have generated at
least fifty different guides in
response to the museums’
constantly changing exhibi-
tions. The titles alone hint at
the rich diversity of the offer-
ings: Sacred Lotus, Symbolic
Bamboo, Gifts for Kings and
Queens, Jewels of the Gods,
Adventures with Freer, and
Garlands for the Gods.

These multipaged activity
books are but one measure
of Eckerd’s painstaking approach to ImaginAsia.
Children produce paper beads, garlands, screens,
kites, puppets, and even miniature art galleries.
They use beads imported from Bombay, hand-
made paper from Nepal, antique printing blocks
from India. “You walk in the door and there’s no
doubt you are working with the finest things that
can be found,” observes Karen Schneider, an art
therapist who regularly brings her Rockville, MD,
high school students to the weekday programs.
“Every project is intimately connected with a spe-
cial exhibit or some aspect of the permanent col-
lection and there is a quality of clarity and seam-
lessness to the programs.”

Eckerd has designed them that way.“What makes
Asian art so extraordinary is the high quality of the
materials, the craftsmanship, and the exquisite
attention to detail,” he says. “What we do in the
classroom should reflect those values. Going
through the museum is a kind of otherworldly
experience; what the kids take home should have
the same value of uniqueness.”

Indeed, as Saturday’s “Dancing Dragons” pro-
gram concluded, the classroom buzzed with in-
dustry as each artist crafted a complex dragon
hand puppet from strips of colorful Nepalese pa-
per and bamboo sticks, holding, cutting. Gluing,
stapling. Suddenly dozens of dragons, their torsos
writhing like hyperactive accordions, came to life
on tiny hands — dancing and, of course, flying.
For there, in Eckerd’s hand, was the final detail —
a little cup of “magic” pearls.

"What makes Asian art
so extraordinary is the high
quality of the materials, the
craftsmanship, and the
exquisite attention to detail.
What we do in the classroom
should reflect those values.
Going through the museum
is a kind of otherworldly
experience; what the kids
take home should have the
same value of uniqueness.”

-STEPHEN ECKERD

Social Whirl

Gowns, glitz, and glamour come
to the museum every year at the
annual gala— in June 2002 we
celebrated the opening of The
Adventures of Hamza exhibi-
tion; it was a sold-out success.
Nearly 270 guests attended the
gala, including His Highness the
Aga Khan and Yo-Yo Ma as well
as many long-standing friends
and a number of first-time visi-
tors. Over $180,000 was raised
for the museum's exhibitions
and educational programs. Prep-
arations for this year's gala on
May 1 are nearly complete as
this magazine goes to press.

On the Road

Elegant, aristocratic, draped in silk and pearls, the
beauty gazes at us from eighteenth-century China,
where she was painted and once hung, an object of
adoration. Tough, lean, riveting, twentieth-century
fashion icon Tina Chow by Warhol stares at us
boldly. Remarkably, the two portraits were in the
same room and the same exhibition, at the Warhol
Museum in Pittsburgh this spring. The unusual
pairing was a collaborative effort. Sackler curator
Jan Smart and Warhol director Thomas Sokolowski
put their heads — and portraits — together when the
Sackler was offering the Ancestors show to other
museums. The res\x\t,Worshiping the Ancestors:
Chinese Commemorative Portraits/ Warhol Icons,
was “sumptuous” according to Mary Thomas,
Pittsburgh Post-Gazette art critic.

Ancestors is one of three large Sackler-organized
exhibitions that travels this year. It will head to
Massachusetts and California (leaving the Warhol
portraits behind in Pittsburgh). Isamu Noguchi
and Modern Japanese Ceramics also travels from
coast to coast. And The Adventures of Hamza, a
show of action-filled illustrations and tales of the
legendary hero of Islam, goes to Europe.

Traveling Exhibitions

THE ADVENTURES OF HAMZA
London: Victoria and Albert
Museum March 6— June 8, 2003
Zurich: Museum Rietberg
June 28— October 20, 2003

WORSHIPING THE
ANCESTORS: CHINESE
COMMEMORATIVE PORTRAITS
Salem, Massachusetts:

Peabody Essex Museum
June 6— August 10, 2003
Santa Barbara, California:
Santa Barbara Museum of Art
November 22, 2003—

February 15, 2004

ISAMU NOGUCHI AND MODERN
JAPANESE CERAMICS
New York, New York:

Japan Society
October 16, 2003—

January 11, 2004
Los Angeles, California:
Japanese American
National Museum
February 7— May 30, 2004

FOCUS 63 ASIATICA FS|G 2003

Endnote

From the Archives

These albumen prints are from the Henry D. Rosin, m.d.,
and Nancy Rosin Collection. It is the museum’s first
major acquisition of nineteenth- and early twentieth-
century photographs of Japan, The Rosin collection,
which numbers over 600, represents the work of major
Japanese and foreign photographers from the early
1860S to the early twentieth-century in formats ranging
from small cartes de visites and stereographic prints
to mammoth prints. Of particular historical interest
is a collection of photographs formed in Japan by the
American geologist, Benjamin Smith Lyman.

ATTRIBUTED TO FELIX BEATO, SAMURAI RETAINERS OF THE DAIMYO OF SATSUMA (MODERN KAGOSHIMA)

UENO HIKOMA, BRIDGE TO A CASTLE

BARON RAIMUND VON STILLFRIED, MAKING GETA

ENDNOTE 64 ASIATICA FS | G 2003

Annual Record 2002

Freer Gallery of Art
Arthur M. Sackler Gallery

Annual Record 2002

Fiscal Year 2002

October 2001-September 2002

© 2003 Freer Gallery of Art & Arthur M. Sackler Gallery

Smithsonian Institution

Washington, D.C.

Produced by the Office of Membership and Development

Freer Gallery of Art & Arthur M. Sackler Gallery

Smithsonian Institution

Edited by Jennifer Alt

Designed by Kelly Doe. Doe Studio

Contents

2

Introduction

Mission Statement
Director's Report
Chair's Report

4

Acquisitions, Contributions, and Financials

Acquisitions and Loans
Gifts, Grants, and Contributions
Budget Summary
Annual Benefit Gala

10

Programs

Exhibitions

Public Programs and Resources
Gallery Shop Programs
Lectures and Research Programs

19

Services

Publications
Library Services
Archives and Slide Library

22

Board, Staff, Interns, Volunteers, and Docents

NTRODUCTION

Mission Statement

The Freer Gallery of Art & Arthur M. Sackler Gallery are internationally known for their col-
lections, exhibitions, and research. As museums of the Smithsonian Institution, their mission
is the increase and diffusion of knowledge, while their specific purpose is the study and cele-
bration of the artistic traditions of the peoples of Asia. Located in adjoining buildings on the
National Mall, the Freer & Sackler Galleries together form the national museum of Asian art
for the United States.

The Freer Gallery of Art, which opened in 1923 as the first art museum of the Smithsonian
Institution, was founded with Charles Lang Freer's gift to the nation of Asian and American art.
According to the founder's wishes, only works in the permanent collection may be shown at the
Freer Gallery. No additions may be made to the American collection, but gifts and purchases
continue to augment the Asian collection.

The Arthur M. Sackler Gallery was inaugurated as a sefsarate museum in 1987 to increase
the range of Asian art activities at the Smithsonian and to develop an active international loan
exhibition program. The collections, initiated with a major donation by Dr. Arthur M. Sackler,
grow through purchase and gift.

Each museum has an identity shaped by the vision of its founder. The Freer Gallery, grounded
in aesthetic values, emphasizes the major artistic traditions of East Asia, the Near East, and
South and Southeast Asia, from prehistory through the nineteenth century; it also features
American art of the late nineteenth and early twentieth centuries collected by Charles Freer.

The Sackler shares the Freer’s historical focus on Asia but extends its scope to include the
contemporary world, embracing a wider range of media and artistic practice. Administered by
a single staff, the combined resources of the Freer & Sackler Galleries form an internationally
important center dedicated to maintaining the highest standards for the collection, preserva-
tion, study, and exhibition of Asian art as well as for educational programs that advance public
understanding of the meanings and values embodied in the artistic traditions of Asia.

ANNUAL RECORD

2 FS|G 2003

Director’s Report

When I arrived in May 2002, I found a
museum committed to the ideals of Charles
Lang Freer, whose will emphasized the princi-
pal ambitions for his new foundation— "the
promotion of high ideals of beauty" and the
"encouragement of . . . study.” To these
lofty ideals the museum has more recently
added a dynamic program of public outreach.
From the outset I have emphasized that the
museum will continue to uphold Freer's
founding vision, expand upon its public pro-
grams, and develop a vigorous and searching
schedule of exhibitions. The Board of the
Freer & Sackler Galleries and all members
of the staff have lent their support, and I am
grateful to them for their guidance and assis-
tance in the understandably difficult first few
months of my tenure here.

Thanks to the staff, the Freer & Sackler
Galleries have over the last year achieved a
remarkable success: increasing attendance
at a time when the number of visitors to
Washington, D.C., has fallen dramatically and
when attendance at other museums on the
Mall is down an average of 26 percent. Our
museum has, in the corresponding period,
increased attendance by some 18 percent,
which suggests that the public Is eager to
find sanctuary within our walls and to learn
more about the art of distant cultures.

Following the tragedies of September 11,2001,
the museum was given a unique opportunity
to aid in the process of healing. Tibetan Bud-
dhists from around the world were called
on by Fils Floliness the Dalai Lama to show
solidarity through meditation, prayer cere-
monies, and the sacred healing arts. In Jan-
uary the museum hosted twenty monks from
the Drepung Loseling Monastery in Atlanta,
Georgia, as they worked on one of the largest
sand mandalas (devotional paintings) ever
created in the West. During the course of the
project, more than forty-six thousand people
took the opportunity to experience the medi-
tative chanting of the monks in person, and
another 105,000 visited the website to watch
the meticulous creation of the mandala.

Another highlight of the year was the
Smithsonian Folklife Festival, which was
devoted to the Silk Road, a loose network
of trails connecting China, India, and the
Mediterranean via the mountains and deserts
of Central Asia. More than 1,3 million people
visited the festival on the Mall, and many of
them shared the Freer & Sackler’s contribu-
tions to the festival, in the form of exhibitions
entitled The Adventures of Hamza, The Cave
as Canvas: Hidden Images of Worship Along
the Silk Road, Luxury Arts of the Silk Route
Empires, and Sacred Sites: Silk Road
Photographs by Kenro Izu.

In early September the museum opened
a stunning exhibition. Masterful Illusions:
Japanese Prints from the Anne van Biema
Collection, featuring 138 Japanese woodblock
prints dating from the 1720s through the late
nineteenth century. These prints have been
promised to the museum as a bequest that,
when added to our existing holdings, will
make us one of the most important reposito-
ries of Japanese woodblock prints in the
United States. What makes Mrs, van Biema's
gift of objects so important, though, is that
she has accompanied it with an endowment
and fellowship that will enable the Freer &
Sackler Galleries to become a leading center
for scholarship on the graphic arts of the
Edo period.

Mrs. van Biema's gift is only one example of
the generous support we have received this
year. With diminishing federal allocations and
an expanding range of museum activities, sup-
port from individuals, foundations, and corpo-
rations is crucial. The kindness and generosity
of our membership group, the Friends of the
Freer & Sackler Galleries, is essential to under-
writing costs associated with exhibitions and
other public programs. Members of the board
also contributed greatly, with gifts totaling
$1.4 million. This year, in addition to receiving
grants from many long-standing supporters,
we were delighted to welcome the Freeman
Foundation and the Grable Foundation as new
donors; their major gifts will fund important
education initiatives.

I would like to thank ail of those individuals,
foundations, and corporations who have so
generously supported the galleries this year.

I am sure they would all join me in thanking
Vidya Dehejia, who so diligently served as
the acting director over the course of seven
months, and Nancy Fessenden, chair of the
board, who helped guide the museum
through a transitional period made more
difficult by the events of September 11.

Julian Raby, Director

Chair’s Report

Having served as the chair of the Board of
the Freer & Sackler Galleries for the past two
years, and as chair of the Visiting Committee
of the Arthur M. Sackler Gallery for four years
before that, I have experienced a variety of
organizational shifts at the galleries. First was
the retirement in October 2001 of Dr, Milo
Beach, who, as the director of the galleries
for fourteen years, oversaw the renovation
of the Freer Gallery and the bringing-together
of the two galleries Into one museum. Vidya
Dehejia then became the interim director until
the appointment of Julian Raby, who assumed
the position of director in May 2002.

Dr. Raby has already set forth an ambitious
plan for the museum. His vision of an active
exhibition schedule and worldwide outreach
will further promote the museum’s mission
and ensure international exposure. The Freer
& Sackler galleries have a long-standing tradi-
tion and reputation for promoting the best in
scholarly research, exhibitions, and collec-
tions, and I believe Dr. Raby's vision will
enhance and strengthen this legacy.

The galleries now have a single governing
group, the Board of the Freer & Sackler Gal-
leries, In 2000, members of the two visiting
committees, with approval from the Smith-
sonian Board of Regents, underwent the pro-
cess of unifying the visiting committees of the
Freer & Sackler. The board’s goals remain the
same: to provide advice, support, and expert-
ise to the director of the museum, the board
of regents, and the secretary of the Smith-
sonian on the programs and operations of
the museum. As a unified board, we are
more able to address the needs of the
museum as a whole,

I would like to take this opportunity to thank
Dr. Dehejia for serving as the acting director
after Milo Beach’s departure. With her insight
and guidance, the galleries experienced new
opportunities and stood firmly during the
transition period. We wish her the best in
her position as the Barbara Staler Miller
Professor of Indian and South Asian Art at
Columbia University.

In the last fiscal year, I was pleased to wel-
come Jeffrey Cunard, Margaret Haldeman,
and Constance Miller as new members of the
board. With active roles in numerous arts and
community organizations and a shared inter-
est in Asian art, all three are valuable addi-
tions to the board. The members of the Board
of the Freer & Sackler Galleries are excited
and optimistic about the museum’s future
and confident it will flourish under Dr. Raby’s
leadership.

Nancy Fessenden, Chair

ACQUISITIONS, CONTRIBUTIONS, AND FINANCIALS

Acquisitions and Loans

Freer Gallery of Art
GIFTS

PURCHASE-FRIENDS OF THE FREER & SACKLER
GALLERIES IN HONOR OF MILO C. BEACH

Document: Farman of the Emperor Akbar. India,
Mughal period, 1604. Opaque watercolor. Ink, and
gold on paper; 87.6 x 40.6 cm, F2001.12

PURCHASE-LOIS S. RAPHLING AND THE HASSAN FAMILY
FOUNDATION IN MEMORY OF DR. DAVID L. RAPHLING

Model of a Granary. China, Southern Song
dynasty, I3th century. Porcelain with qingbai
glaze: 279 cm, f2001.13A-c

GIFT OF RICHARD L. MELLOTT IN HONOR OF
LOUISE CORT

Jar. Korea, 5th-6th century. Stoneware: 30.0 x 27.3
cm, F2002.1

PURCHASE-FRIENDS OF THE FREER AND
SACKLER GALLERIES

Kemari scene from The Tale of Genji. By Rezei
Tamechika (1823-1864). Japan. Hanging scroll:
ink and color on silk: 198.8 x 65.2, F2002.2

PURCHASES

Koran section (juz). Central Asia, probably
Uzbekistan, 11 th century. Ink, color, and gold on
paper with leather binding: cover: 15 . 5 - 16.0 x
11.5-11.7, sheets: 15.4 x 12.0 x o.i 3 cm, F2001.I6

Scabbard fitting. Northeast China or southeast
Inner Mongolia, 6th-5th century b.c.e. Metal
work and bronze: 23,2 x 9.8 x 1,7 cm, F2001.14

Tile. Turkey, Iznik, ca. 1575. Ceramic, composite
body painted over slip under transparent glaze;
31.3 X 30.0 X 2.4 cm, F2001.15

Arthur M. Sackler Gallery
GIFTS

ANONYMOUS GIFT

Prayer roll. Site of Shalu Monastery. Tibet,
Iith-I3th century. Ink on paper; 5.5 x 3,0 cm,
S2002.1

Tsa-tsa with Akshobhya. Site of Shalu
Monastery, Tibet, iith-i3th century. Terra-cotta
with pigment: 7.3 x 5.5 x 2.5 cm, S2002.2

Tsa-tsa with Avalokiteshvara. Site of Shalu
Monastery, Tibet, Iith-i3th century. Terra-cotta
with pigment, 10.0 x 5.5 x 2,5 cm, S2002.3

GIFT OF HAMID ATIGHETCHI

Album of calligraphic exercises. By Sayyid
Ahmad (also known as Khwaja-zada) (act. I 8 th
century). Turkey, dated a.h. 1159 (C.E. 1746). Ink
and gold on paper; closed: 24.0 x 15.6 cm, S2002.4
Folio from a manuscript of Jami. Iran, 16 th
century. Colored ink and gold on paper:

24,0 X 16.5 cm, S2002.5

GIFT OF MR. AND MRS. KENNETH KING

Untitled painting. By C. C. Wang (B. 1907).
China/United States, 1995. Ink and wash on
paper; 50.8 x S2.2 cm, S2001.45

Untitled painting. By C. C. Wang (B. 1907),
China/United States, late 20 th century. Ink and
silver leaf on paper: 71.2 x 69.5 cm, S2001.46

Untitled painting. By C. C. Wang (B. 1907).
China/United States, 2000. Ink and wash on
paper: 72.2 x 71.0 cm, S2001.47

Untitled painting. By C. C. Wang (B. 1907).
China/United States, 2000. Ink and color on
paper: 76.6 x 41.6 cm, S200i.48

Untitled painting. By C. C. Wang (b. 1907).
China/United States, 2001. Ink and color on
paper: 63.8 x 48.0 cm, 32001,49

Untitled painting. By C. C. Wang (B. 1907).
China/United States, late 20 th century, ink
on paper: 35.5 x 36.5 cm, S200i,50

GIFT OF GREGORY AND PATRICIA KRUGLAK

Naval Battle of the Russo-Japanese War at
Chinmulpo, 9 February 1904 . By Toshihide Migita
(1863-1925). Japan, 1904, Woodblock print: ink
and colors on paper: 38.4 x 773 cm, S2001,37a-c

Yamanaka Commands a Gun at the Battle
of Port Arthur. By Toshihide Migita (1863-1925).
Japan, 1904. Woodblock print: ink and colors on
paper: 38.8 x 76.4 cm, S2001.38a-c

Private Ueda Attends to a Wounded Russian
under Fire. By Toshihide Migita (1863-1925).
Japan, 1904. Woodblock print: ink and colors on
paper: 38.0 x 76.5 cm, s200i.39A-c

Infantry on the Move at Jinzhou Bay. By
Getsuzo ( 20 th century). Japan, 1904. Woodblock
print: ink and colors on paper: 38,5 x 76.5 cm,
S2001.40A-C

Setting the Charge at the Gate of Jinzhou.

By Getsuzo ( 20 th century). Japan, 1904.
Woodblock print: ink and colors on paper:

38.7 X 76.0 cm, S2001.41A-C

PARTIAL AND PROMISED GIFT OF
DOROTHY LICHTENSTEIN

Landscape In Scroll. 1996. By Roy Lichtenstein
(American, 1923-1997). Oil and Magna on canvas;
263.5 X 125.7 cm. 32001.31

GIFT OF MR. AND MRS. PAUL R. MARTINEAU JR.

Pair of votive plaques (sacchas) with image
of three Buddhas. Burma, Pagan period, nth
century. Terra-cotta: 16.5 x 14.9 x 5,1 and 20.3 x

13.3 X 6,0 cm, 32001.33.1-.2

GIFT OF RALPH AND LARA REDFORD IN HONOR OF
MASSUMEH FARHAD

Begging bowl (kashkul). Iran/Afghanistan, I9th
century. Tinned copper: 11.0 x 23.8 x 15.0 cm,

32001.35

GIFT OF THE NATHAN RUBIN-IDA LADD FAMILY
FOUNDATION IN MEMORY OF ESTER R. PORTNOW

Krishna and Balrama. India (Orissa), I6th cen-
tury. Brass: 36.2 x 15.8 x 11,6 cm, 32001.32

GIFT OF AGNES AND PAUL SCHWEITZER

From the Star, Day. By Yoshida Toshi (1911-1990).
Japan, 1957. Woodblock print: ink and colors on
paper: 62 .i x 92.0 cm, 32001.42

Gagaku. By Yoshida Toshi (1911-1990). Japan,

1968. Woodblock print: ink and colors on paper:

54.3 X 41.0 cm, 32001,43

H/ru no kojo. By Yoshida Hodaka (1926-1995),
Japan, late 19603. Woodblock print: ink, colors,
and embossing on paper: 50.0 x 64.0 cm,

S2001.44

GIFT OF DEVIKA SINGH

Morning on the Darbhanga Ghat. Benares, Uttar
Pradesh. By Raghubir Singh (1942-1999). India,
1998. Chromogenic print on Kodak Ektacolor
paper mounted on board; 82.0 x 202.5 cm,

32001.36

GIFT OF SHIMAOKA TATSUZO

Square bottle. By Shimaoka Tatsuzo (B. 1919).
Japan, 2001. Stoneware; natural Mashiko clay
and iron-brown tinted Mashiko clay: overglaze
enamels: 18.8 x 8,9 x 9.0 cm, 32001.34

LOANS TO OTHER INSTITUTIONS

ATLANTA INTERNATIONAL
MUSEUM OF ART AND DESIGN

Atlanta, Ga.

OCTOBER 11, 2001-AUGU3T 23, 2002

Treasures from the Collection of the
Smithsonian Institution: A First Look

Horse (Kutiral) offering. By M. Palaniappan
(act, 20 th century). India, 1985. Fired earthen-
ware; 171.8 X 104.5 X 42.0 cm, S1986.535A-F

Bull (matu) offering. By M. Palaniappan (act
20 th century). India, 1985. Fired earthenware:
119.5 X 81.0 X 39.0 cm, 31986.542

Festival image of local deities (Kannimar). India,
1984-85. Fired earthenware, 38.9 x 51.7 x 21.0 cm,

31986.547

Festival image of local deities (Ayyanar with
his consorts). India. 1984-85. Fired earthenware;

60.3 X 54.3 X 23.5 cm, 31986.548

Festival image of local deity (Viran). India,
1984-85. Fired earthenware, 67,6 x 26.7 x 16.8 cm,
31986.549

Festival image of local goddess. India, 1985.

Fired earthenware, 63.0 x 28.0 x 16.5 cm, 31986.550

All objects were gifts of the Indian Advisory
Committee for the Festival of India and the
Development Commissioner (Handicrafts),
Government of India.

SPERTUS MUSEUM

Spertus Institute of Jewish Studies
Chicago, III.

OCTOBER 21, 2001-AUGU3T 18. 2002 (THIS LOAN
SHOWN ONLY THROUGH MARCH 6, 2002)

A Gateway to Mediterranean Life: Cairo's Ben
Ezra Synagogue

Folio from a Koran: Sura II, "The Cow," verses
1 - 4 . Egypt, Mamiuk dynasty, I4th century. Ink,
color, and gold on paper mounted on paper-
board: 41,6 X 31.6 cm. Purchase— Smithsonian
Unrestricted Trust Funds, Smithsonian Collec-
tions Acquisition Program, and Dr. Arthur M.
Sackler, 31986.66 '

MUSEUM OF FINE ARTS

Houston, TX

NOVEMBER 18. 2001-FEBRUARY 24. 2002

Japanese Beauty: Woodblock Prints by Goyo
from the Arthur M. Sackler Gallery, Smithsonian
Institution

Woman Applying Makeup. By Hashiguchi
Goyo (1880-1921). Japan, Taisho period, 1918.
Woodblock print: ink, color, and mica on paper:

54.4 X 39,6 cm. Gift of H. Ed Robison in memory
of Ulrike Pietzner-Robison, 31993.62

Woman in a Long Undergarment. By
Hashiguchi Goyo (1880-1921). Japan, Taisho
period, 1920. Woodblock print: ink, color, and
mica on paper; 49,8 x 14.8 cm. Gift of H. Ed
Robison in memory of Ulrike Pietzner-Robison,
31993,57

Woman Holding a Tray. By Hashiguchi Goyo
(1880-1921). Japan, Taisho period, 1920. Wood-
block print: ink, color, and mica on paper: 39.9 x

26.8 cm. Gift of H. Ed Robison in memory of
Ulrike Pietzner-Robison, S1993.51

Woman Bathing. By Hashiguchi Goyo (1880-1921),
Japan, Taisho period, 1915. Woodblock print: ink
and color on paper: 40,7 x 26.6 cm. Gift of H. Ed
Robison in memory of Ulrike Pietzner-Robison,
S1993.58

Woman Combing Her Hair. By Hashiguchi
Goyo (1880-1921). Japan, Taisho period, 1920.
Woodblock print: ink, color, and mica on paper:

44.7 X 34.3 cm. Gift of H. Ed Robison in memory
of Ulrike Pietzner-Robison, S1993.65

Woman in Summer Dress. By Hashiguchi
Goyo (1880-1921). Japan, Taisho period, 1920,
Woodblock print: ink, color, and mica on paper:

44.9 X 28.9 cm. Gift of H. Ed Robison in memory
of Ulrike Pietzner-Robison, S1993.49

Woman after a Bath. By Hashiguchi

Goyo (1880-1921). Japan, Taisho period, 1920.

Woodblock print: ink, color, and mica on paper:

44.8 X 295 cm. Gift of H. Ed Robison in memory
of Ulrike Pietzner-Robison, S1993.66

Woman Holding a Towel. By Hashiguchi Goyo
(1880-1921). Japan, Taisho period, 1920. Wood-
block print: ink, color, and mica on paper:

45.8 X 30.1 cm. Gift of H. Ed Robison in memory
of Ulrike Pietzner-Robison, S1993.52

Woman Applying Lip Rouge. By Hashiguchi
Goyo (1880-1921). Japan, Taisho period, 1920.
Woodblock print: ink, color, and mica on paper:
41.5 X 28.8 cm. Gift of H. Ed Robison in memory
of Ulrike Pietzner-Robison, S1993.50

Yabakei. By Hashiguchi Goyo (1880-1921). Japan,
Taisho period, 1918. Woodblock print: ink, color,
and mica on paper: 40,8 x 53.3 cm. Gift of H. Ed
Robison in memory of Ulrike Pietzner-Robison,

81993,64

Evening Moon in Kobe. By Hashiguchi Goyo
(1880-1921). Japan, Taisho period, 1920. Wood-
block print: ink and color on paper: 29.3 x 48.1
cm. Gift of H. Ed Robison in memory of Ulrike
Pietzner-Robison, S1993.59

Mount Ibuki in Snow. By Hashiguchi Goyo
(1880-1921). Japan, Taisho period. 1920. Wood-
block print: ink and color on paper: 25.9 x 38.7
cm. Gift of H. Ed Robison in memory of Ulrike
Pietzner-Robison, 81993.53

Great Bridge at Sanjo In Kyoto. By Hashiguchi
Goyo (1880-1921). Japan. Taisho period, 1920.
Woodblock print: ink and color on paper:

30.8 X 48,2 cm. Gift of H. Ed Robison in mem-
ory of Ulrike Pietzner-Robison, 81993.61

Ducks. By Hashiguchi Goyo (I88O-1921). Japan,
Taisho period, 1920. Woodblock print: ink and
color on paper: 26.6 x 40.7 cm. Gift of H. Ed
Robison in memory of Ulrike Pietzner-Robison,
81993,55

Woman Lighting a Paper Lantern. By
Hashiguchi Goyo (I88O-1921). Japan, Taisho
period, ca. 1918-20. Pencil on paper: 58.4 x 33.6
cm. Gift of H. Ed Robison in memory of Ulrike
Pietzner-Robison, 81993.63

Woman in a Summer Kimono. By Hashiguchi
Goyo (1880-1921). Japan, Taisho period, 1920.
Woodblock print: ink, color, and mica on paper:

55.8 X 30.2 cm. Gift of H. Ed Robison in memory
of Ulrike Pietzner-Robison, 81993.48

Woman Holding a Firefly Cage. By Hashiguchi
Goyo (1880-1921). Japan, Taisho period, 1920.
Woodblock print: ink on paper: 46,7 x 29.0 cm.
Gift of H. Ed Robison in memory of Ulrike
Pietzner-Robison. 81993.60

Parrots. By Hashiguchi Goyo (I88O-1921).

Japan, Taisho period, 1912-26. Pencil and color
on paper: 38.1 x 29.3 cm. Gift of H. Ed Robison in
memory of Ulrike Pietzner-Robison, 81993,56

Hot Spring Hotel. By Hashiguchi Goyo (1880-1921).
Japan, Taisho period, 1920. Woodblock print ink,
color, and mica on paper: 45.2 x 26.5 cm. Gift of
H. Ed Robison in memory of Ulrike Pietzner-
Robison, 81993,54

Shono. By Hashiguchi Goyo (I88O-1921). Japan,
Taisho period, 1918. After Tokaido series by
Hiroshige Ando, Japan, 1797-1858. Woodblock
print: ink and color on paper: 25.6 x 37.8 cm.
Freer Gallery of Art Study Collection, Gift of
Mr. Alfred Bodian, F8C-GR-565YY

Kameyama. By Hashiguchi Goyo (I88O-1921).
Japan, Taisho period, 1918. After Tokaido series
by Hiroshige Ando, Japan 1797-1858. Woodblock
print: ink and color on paper: 25.6 x 37,8 cm.
Freer Gallery of Art Study Collection. Gift of
Mr. Alfred Bodian, FSC-GR-5652Z

ELVEHJEM MUSEUM OF ART

University of Wisconsin-Madison

THROUGH JANUARY 4. 2002

For inclusion with their permanent collections
for course study

Man with Two Attendants. China, Qing dynasty
(1644-1911). Hanging scroll: ink and colors on silk:
359.7 X 137.5 cm. Purchase— Smithsonian Collec-
tions Acquisition Program, and partial gift of
Richard G. Pritzlaff, 81991.48

Portrait of a woman. China, Qing dynasty
(1644-1911). Hanging scroll: ink and colors on
silk: 284.5 X 127.0 cm. Purchase— Smithsonian
Collections Acquisition Program, and partial
gift of Richard G, Pritzlaff, 81991,58

HIRSHHORN MUSEUM AND SCULPTURE GARDEN.
SMITHSONIAN INSTITUTION

Washington, D.C.

JUNE 20-8EPTEMBER 8, 2002

Open City: Street Photographs since 1950

Durga Puja Rites. Kali Temple, Calcutta. By
Raghubir Singh (1942-1999). India, 1987. Chro-
mogenic prints on Kodak Ektacolor paper:

40.6 X 50.8 cm. Gift of the artist, 81993.39.1

Pilgrim Crowd, Lolarka Sacred Tank. Banaras.

By Raghubir Singh (1942-1999), India, 1986,
Chromogenic prints on Kodak Ektacolor paper:
40.6 X 50.8 cm. Gift of the artist, 81993.39.4

Milk Sellers, Banaras. By Raghubir Singh
(1942-1999). India, 1986. Chromogenic prints on
Kodak Ektacolor paper: 40,6 x 50.8 cm. Gift of
the artist, s1993.39.13

A Vegetable Seller, Clients and Saraswatl, God-
dess of the Arts, Calcutta. By Raghubir Singh
(1942-1999). India, 1985. Chromogenic prints on
Kodak Ektacolor paper: 40,6 x 50.8 cm. Gift of
the artist, si993.39.22

Boys Asleep on a Jeep, Calcutta. By Raghubir
Singh (1942-1999). India, 1987. Chromogenic
prints on Kodak Ektacolor paper: 40.6 x 50.8 cm.
Gift of the artist, si993.39.64

MUSEUM OF FINE ARTS

Houston, Tex.

JUNE 30-SEPTEMBER 22, 2002

Imperial Portraits from the Mughal
Courts from the Arthur M. Sackler Gallery,
Smithsonian Institution

Humayun Seated in a Landscape. From the
Late Shah Jahan Album, by Payag (act. I7th
century). India, ca. 1650. Opaque watercolor,
ink, and gold on paper: 25.4 x 37 cm. Purchase—
Smithsonian Unrestricted Trust Funds, Smith-
sonian Collections Acquisition Program, and
Dr. Arthur M. Sackler, si986,400

ANNUAL RECORD 5 FS | G 2003

Babur and Humayun with Courtiers. From the
Late Shah Jahan Album. India, ca. 1650. Opaque
watercolor, ink, and gold on paper: 37.0 x 25.3
cm. Purchase— Smithsonian Unrestricted Trust
Funds, Smithsonian Collections Acquisition
Program, and Dr. Arthur M. Sackler, 81986.401

Akbar with a Sarpech. From the Late Shah
Jahan Album. India, ca. 1650. Opaque water-
color, ink, and gold on paper: 37.0 x 25.3 cm.
Purchase— Smithsonian Unrestricted Trust
Funds, Smithsonian Collections Acquisition
Program, and Dr. Arthur M. Sackler, 81986.402

Shah Jahan with Asaf Khan. From the Late
Shah Jahan Album. Inscribed to Bichitr. India,
ca. 1650. Opaque watercolor. ink, and gold on
paper: 36.9 x 25.3 cm. Purchase— Smithsonian
Unrestricted Trust Funds, Smithsonian Collec-
tions Acquisition Program, and Dr, Arthur M.
Sackler, 81986.403

The Elderly Shah Jahan. From the Late Shah
Jahan Album. India, ca. 1650. Opaque water-
color, ink, and gold on paper: 37.0 x 25.3 cm.
Purchase— Smithsonian Unrestricted Trust
Funds, Smithsonian Collections Acquisition
Program, and Dr. Arthur M. Sackler, 81986.405

Shah Jahan Enthroned with Mahabat Khan
and a Shaykh. From the Late Shah Jahan
Album. Inscribed to Abid. India, 1629-30. Opaque
watercolor, ink, and gold on paper: 37.0 x 25.2
cm. Purchase— Smithsonian Unrestricted Trust
Funds, Smithsonian Collections Acquisition
Program, and Dr. Arthur M. Sackler, 81986.406

Jahangir with Courtiers (left-hand half of a
double-page composition). From the Late Shah
Jahan Album. India, ca. 1650. Opaque water-
color, ink, and gold on paper: 44.9 x 33.0 cm.
Purchase— Smithsonian Unrestricted Trust
Funds, Smithsonian Collections Acquisition
Program, and Dr, Arthur M. Sackler, 81986.407

The Emperor Jahangir with Bow and Arrow.
India, ca. 1605. Opaque watercolor, ink, and gold
on paper: I6.0 x 8.3 cm. Purchase— Smithsonian
Unrestricted Trust Funds, Smithsonian Collec-
tions Acquisition Program, and Dr. Arthur M.
Sackler, 81986.408

ACQUISITIONS, CONTRIBUTIONS, AND FINANCIALS

Gifts, Grants, and Contributions

The following individuals and organizations provided financial support of one thousand dollars or more
to programs and operations of the Freer & Sackler Galleries between October i, 2001. and September 30.
2002. The museum is grateful for every gift and thanks all donors for their generous support. Please
bring any inadvertent errors in these lists to the attention of the Office of Membership and Development.

The Friends of the Freer & Sackler Galleries is the museum's sole benefactors group. Members serve as
ambassadors for the galleries and provide significant financial support to fund the museum's core pro-
grams— exhibitions, acquisitions, and public and educational programs— which do not receive federal
funding. These private donations are crucial to helping the museum achieve its mission.

During the fiscal year, membership contributions helped to underwrite three exhibitions, Word Play:
Contemporary Art by Xu Bing. Sacred Sites: Silk Road Photographs by Kenro Izu, and The Adventures
of Hamza: a host of education, programs: and the acquisition of a Japanese hanging scroll, Kemari Scene
from the Tale of Genji (by Reizei Tamechika. circa 1851), for the Freer collection. We thank all members
for their enthusiasm and largesse in nurturing this institution.

Friends of the Freer &

Sackler Galleries

SPONSORS’ CIRCLE
($10,000 and above)

SIGRID AND VINTON CERF
MR, JEFFREY P, CUNARD
MR, AND MRS, RICHARD M, DANZIGER
MR, AND MRS. FARHAD EBRAHIMI
DR, AND MRS, ROBERT S, FEINBERG
WINNIE AND MICHAEL FENG
MR, AND MRS, HART FESSENDEN
MR, AND MRS. GEORGE W. HALDEMAN
MR. AND MRS, GILBERT H. KINNEY
MR. AND MRS, R. ROBERT LINOWES/

R. ROBERT AND ADA H. LINOWES
FUND OF THE COMMUNITY FOUNDATION
FOR THE NATIONAL CAPITAL REGION
MR. AND MRS, PETER LUNDER
J, SANFORD AND CONSTANCE MILLER
DR. AND MRS, ROLF G. SCHERMAN
MR. AND MRS. JAMES J. SHINN
MR. ROBERT C. TANG. SC
TOYOTA MOTOR NORTH AMERICA, INC,
SACHIKO KUNO, RYUJI UENO AND THE
S&R FOUNDATION

SIDELLE AND FRANCt WERTHEIMER/

THE WERTHEIMER FOUNDATION, INC.

FOUNDERS’ CIRCLE

($5,000 to $9,999)

ANONYMOUS

MR. ROGER E. COVEY

MS. MARTHA FELTENSTEIN
DR. MARGARET A. GOODMAN
MS. SHIRLEY Z. JOHNSON AND

MR. CHARLES RUMPH
MR, AND MRS. HASSAN KHOSROWSHAHI
HALSEY AND ALICE NORTH

MR. AND MRS. DAVID M. OSNOS

THE ARTHUR M. SACKLER FOUNDATION
DR. ELIZABETH A. SACKLER
VICK! AND ROGER SANT

MS. MARTHA SUTHERLAND
MR. AND MRS. JACKSON P. TAI
MRS. H. WILLIAM TANAKA

DIRECTOR’S CIRCLE

($2,500 to $4,999)

MRS. MARILYNN ALSDORF
ANONYMOUS (2)

THE HONORABLE CAROLYN S. BRODY
AND MR. KENNETH D. BRODY
MR. AND MRS. JERE BROH-KAHN
MR. PAUL CALELLO
AND MS. JANE DEBEVOISE
MR. AND MRS, BRICE M, CLAGETT
DR. ASHOK DESHMUKH
AND DR. MARION DESHMUKH
MR. AND MRS, ARUN K. OEVA
MR, AND MRS. GIUSEPPE ESKENAZt
MR. AND MRS. GEORGE J. FAN
DR. KURT A. GITTER
AND MS, ALICE R. YELEN
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DR. AND MRS, ASHOK KAVEESHWAR
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MR. ALBERT G. LAUBER JR,

AND MR. CRAIG W. HOFFMAN
MR. AND MRS. YO-YO MA
ELAINE AND PAUL MARKS

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MS. YOSHIE OGAWA

MR. AND MRS. HARVEY PLOTNICK
DR. KAZUKO K. PRICE

MRS. LOIS S. RAPHLING

MS. SANAE IIDA REEVES

DR, AND MRS, KENNETH X. ROBBINS
MS. JANE WASHBURN ROBINSON
KAROL K. RODRIGUEZ
MS. DIANE SCHAFER
AND DR. JEFFREY STEIN
DR. GERALD D. SLAWECKI AND
MS. CONSTANCE H. SLAWECKI
DR. MARY SLUSSER
MR. ANTHONY M. SOLOMON

DR. ANN WALZER AND DR. ROBERT WALZER/
NATHAN RUBIN AND IDA LADD
FAMILY FOUNDATION
MR. AND MRS. GUY WEILL
MR. AND MRS. JAMES D, WOLFENSOHN
MR. AND MRS. DAVID Y. YING

PATRONS’ CIRCLE
($1,000 to $2,499)

ABDUL FATAl ALAGA AND ASIFAT ALAGA
DR, AND MRS, BRUCE ALBERTS
MR. AND MRS. WILLIAM S. ANDERSON
MR. AND MRS. SIAH ARMAJANI
BAJAJ FAMILY FOUNDATION. INC,

MR. AND MRS. ROBERT H. BAKER
MR. AND MRS. WILLIAM D. BASKETT III

MR. AND MRS. JAMES R. BEERS

MS. SUSANNE K, BENNET
MARINKA AND JOHN BENNETT

MR. AND MRS. MICHAEL BESCHLOSS
THE HONORABLE ROBERT 0. BLAKE

AND MRS. BLAKE

MS. MARTHA 0. BLAXALL
MR, AND MRS. DRIES BLITZ
DR. ALICE A, BOOHER

MR. AND MRS. JOHN B. BUNKER
DR. YOUNG Y. CHUNG AND MR. KEN IKEDA
MR. AND MRS. WILLARD G. CLARK
MR. JEROME A. COHEN
AND MRS. JOAN LEBOLD COHEN
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MR. AND MRS. MICHAEL DE HAVENON
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AND MR. HEMANT KANAKIA

MS. EVE DORFZAUN

DR, WILLEM J. R. DREESMANN
MR. ROBERT H. ELLSWORTH
MR. AND MRS. JOHN L. ERNST

MR. AND MRS. JAMES G, EVANS

MS. PATRICIA H. FALK

DR, AND MRS. HORACE Z. FELDMAN
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AND MR, WILLIAM F, PEDERSEN
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VICTOR AND TAKAKO HAUGE
MR. AND MRS. JAMES M. HAWLEY III
THE HONORABLE RICHARD HELMSt
AND MRS. HELMS
MR. AND MRS. FRANK W. HOCH

MR. AND MRS. JOSEPH F, HORNING JR.

MS. JAYJIA HSIA

t DECEASED

MS. MIMI HUNG

DR, AND MRS. JAMES HUNING

DR, AND MRS. SEBASTIAN IZZARD

MR. STUART JACKSON

MR. AND MRS. PHILIP C. JESSUP JR,

MR. AND MRS. GIRISH JINDfA
MR. AND MRS. STANTON JUE
MR. B. FRANKLIN KAHN

MR. SUBHASH KAPOOR

MS, JEAN KARIYA

MS, MARIE-LOUISE KENNEDY
MR. AND MRS. PETER KOLTNOW
LT. COLONEL AND MRS. WILLIAM K. KONZE
DR- AND MRS. GREGORY T, KRUGLAK
DR, AND MRS. CALVIN A. LANG
MR, DOUGLAS A.J. LATCHFORD
MR. JOHN M, LEGER
AND MS, SOPHIE ORLOFF-LEGER
MR, ROBERT LEHRMAN
DR. AND MRS. THOMAS W, LENTZ
MR. AND MRS. HERBERT LEVIN
AMBASSADOR JAMES R. LILLEY
AND MRS. LILLEY

MR. AND MRS, WILLIAM H. LITTLEWOOD
MR, AND MRS. JAN LODAL

MR. H, CHRISTOPHER LUCE
AND MS. TINA LIU

DR. ROBERT W. LYONS
AND DR. VIRGINIA RIGGS
THE HONORABLE JOHN D. MACOMBER
AND MRS. MACOMBER

MS. CLAUDINE B, MALONE
MANDARIN ORIENTAL HOTEL
MR. AND MRS. JOHN B. MANNES

MR. TERENCE MCINERNEY

DR. GILBERT MEAD AND DR. JAYLEE MEAD

MS. MARY FRANCES MERZ
MS. REBECCA A. MILLER

AND MR, CHRISTOPHER J, VIZAS
MS. JOAN B. MIRVISS

MR. AND MRS. SEYMOUR MOSKOWITZ

MS. DIANE L. MOSSLER

THE HONORABLE DANIEL P. MOYNlHANt
AND MRS, MOYNIHAN
MR, STEVEN J. MUFSON
AND MS, AGNES TABAH
MR. AND MRS. DAVID NALLE
MR, AND MRS. TETSUYA OGAWA
MR. AND MRS. LEONARD C. OVERTON
MR. AND MRS. WILLIAM H. PETERS
LT. COLONEL AND MRS. JOSEPH T. PISCIOTTA
MRS. LEWIS T, PRESTON
LILIAN AND JAMES PRUETT
CAROL AND CHARLES RADEMAKER
THE HONORABLE GERALD M. RAFSHOON
AND MRS. RAFSHOON
MISS ELIZABETH C. RIDOUT
DR. DOROTHY ROBINS-MOWRY
H. DAVID AND CARLA ROSENBLOOM
MR. ROBERT ROSENKRANZ
AND MS. ALEXANDRA MUNROE
MR. FABIO ROSSI
AND MS. ANNA MARIA ROSSI

MR. AND MRS, EUGENE H, ROTBERG

MS. DOROTHY ING RUSSELL
MS. LOUISE A. RUSSELL

DR. MARIETTA LUTZE SACKLER
MR. ETSUYA SASAZU
MR. ANTHONY H. SCHNELLING
AND MS. BETTINA WHYTE
MR, AND MRS. ROY A. SCHOTLAND
MR, ISAO SETSU AND MRS. TAKAKO SETSU
DR. AND MRS. ROBERT L. SHERMAN
MRS. RICHARD E, SHERWOOD

MR. AND MRS. MANUEL SILBERSTEIN

MS. ADELE SILVER
HELEN AND ABE SIRKIN
DR. LIONEL J. SKIDMORE

AND DR. JEAN M. KARLE

MR. AND MRS. JERRY SNOW

MS, SUSAN SOROS

MR.t AND MRS. NATHAN J. STARK

MR. AND MRS, ROGER D, STONE

MS, NUZHAT SULTAN
MS. ALEXIA SUMA

DR. AND MRS. R. GERALD SUSKIND
MARSHA E. SWISS
AND RONALD M. COSTELL, M,D.

PROF. ELIZABETH TEN GROTENHUIS
AND DR, MERTON C. FLEMINGS
MR. AND MRS. JOSEPH G. TOMPKINS
MR. AND MRS. WILLIAM T. TORGERSON
MRS, EMILIO TORRES

MR. AND MRS. RANVIR K. TREHAN

THE HONORABLE ALEXANDER B. TROWBRIDGE
AND MRS, TROWBRIDGE
MRS, ANNE VAN BIEMA

MS. ELLEN VANDERNOOT

DR. CHARLES LINWOOD VINCENT

MR. AND MRS. SHAO F. WANG

MS. DORIS WIENER

THE HONORABLE EDWIN D, WILLIAMSON
AND MRS. WILLIAMSON
DR. AND MRS. CHRISTOPHER WITH
MS. DORA WONG
MR. JOE-HYNN YANG
MR. AND MRS. DAVID YAO
MR. AND MRS, ADIL S. ZAINULBHAI

Annual Support for Programs
and Projects

Benefits of membership in the Friends
of the Freer & Sackler Galleries are also
extended to annual support donors.

Gifts are cumulative.

$100,000 and above

MARY LIVINGSTON GRIGGS
AND MARY GRIGGS BURKE FOUNDATION
E. RHODES AND LEONA B, CARPENTER
FOUNDATION
THE CHRISTENSEN FUND
JULIET AND LEE FOLGER/THE FOLGER FUND
FREEMAN FOUNDATION
JAPAN ART INSTITUTE
MISS NARINDER K. KEITHt
MISS RAJINDER K. KEITH
THE HENRY LUCE FOUNDATION, INC.

THE ANDREW W. MELLON FOUNDATION
THE STARR FOUNDATION
MRS. ANNE VAN BIEMA

$50,000 to $99,999

MR. AND MRS, FARHAD EBRAHIMI/EBRAHIMI
FAMILY FOUNDATION

THE FEINBERG FOUNDATION/DURON, INC.
WINNIE AND MICHAEL FENG
THE GRABLE FOUNDATION

$25,000 to $49,999

MR. CRAIG M, CHRISTENSEN

MR, AND MRS. GEORGE W. HALDEMAN
SAMUEL H. KRESS FOUNDATION

MS. ELIZABETH E. MEYER
THE NEW YORK COMMUNITY

TRUST-THE ISLAND FUND
MR. AND MRS. FRANK H. PEARL
THE ROCKEFELLER FOUNDATION
THE ROSHAN CULTURAL
HERITAGE INSTITUTE
MR. AND MRS. JAMES J. SHINN
SMITHSONIAN WOMEN'S COMMITTEE
MR, AND MRS, MICHAEL R. SONNENREICH
SACHIKO KUNO, RYUJI UENO AND THE S&R
FOUNDATION

$10,000 to $24,999

THE BANKS ASSOCIATION OF TURKEY
BAYERISCHE HYPOVEREINSBANK
THE MORRIS AND GWENDOLYN
CAFRITZ FOUNDATION
CAPITAL GROUP COMPANIES
SIGRID AND VINTON CERF
COVINGTON AND BURLING
MR, AND MRS. GILBERT H. KINNEY
J, J. LALLY & CO. (IN-KIND GIFT)

MUSEUM LOAN NETWORK
PARNASSUS FOUNDATION
PUTNAM INVESTMENTS
MRS. ARTHUR M. SACKLER
THE ELSE SACKLER FOUNDATION

DR, AND MRS. ROLF G, SCHERMAN
WASHINGTON POLICY & ANALYSIS. INC.
THE WASHINGTON POST COMPANY

MR, BENJAMIN ZUCKER

$5,000 to $9,999
THE BROOKINGS INSTITUTION
LLOYD AND MARGIT COTSEN
DR. ASHOK DESHMUKH
AND DR. MARION DESHMUKH
FORD MOTOR COMPANY
INWEST INVESTMENTS LTD.

MARPAT FOUNDATION. INC.
METROPOLITAN CENTER FOR
FAR EASTERN ART STUDIES
THE HONORABLE DANIEL P. MOYNlHANt
AND MRS. MOYNIHAN
HALSEY AND ALICE NORTH
RAND

SUTHERLAND ASBILL & BRENNAN LLP
ELLEN BAYARD WEEDON FOUNDATION

MS. SHELBY WHITE AND MR. LEON LEVYt

$1,000 to $4,999

MS- SUSAN SPICER ANGELL
DR. CATHERINE G. BENKAIM
MR. AND MRS. JOHN L. ERNST
JULIET AND LEE FOLGER

MR. AND MRS. PETER LUNDER

MS, JOAN B. MIRVISS
NATIONAL BOOK FOUNDATION
MS, EVELYN S. NEF

THE SILVER FOUNDATION
J. WATUMULL FUND

Gifts to Capital
and Endowment Fund

$1,000,000 and above

MR. AND MRS. HART FESSENDEN
MRS. ANNE VAN BIEMA

Under $100,000

ANONYMOUS

THE HONORABLE DANIEL P. MOYNlHANt
AND MRS. MOYNIHAN
MR. BENJAMIN ZUCKER

Planned Gifts

We are grateful to the following generous
benefactors who have included the Freer
& Sackler galleries in their estate plans.

GEORGE AND BONNIE BOGUMILL
MISS NARINDER K. KEITHt
MISS RAJINDER K. KEITH
MR.t AND MRS. DOUGLAS F. REEVES
MR. AND MRS. ROBERT S. ZELENKA
MRS. ANNE VAN BIEMA

t DECEASED

ANNUAL RECORD 7 FS | G 2003

ACQUISITIONS, CONTRIBUTIONS, AND FINANCIALS

Budget Summary

Fiscal Year 2002

OCTOBER 1, 2001-SEPTEMBER 30. 2002

The following charts reflect the income and expense distributions for
the Freer Gallery of Art & Arthur M. Sackier Gallery during fiscal year 2002.
The financial statements included in this report are the representation of
management and are not audited.

Income

SMITHSONIAN PROGRAM GRANTS

Expenses

OFFICE OF THE ASSOCIATE DIRECTOR
27.7%

Statement of Activity and Changes in Fund Balance

For the year ended September 30, 2002, with comparison to the year ended
September 30, 2001

Support and Revenue

2002 TOTAL

2001 TOTAL*

Federal allocation

$6,184,100

$6,382,500

Endowment income

6.088.719

5,582,361

Shop sales

2,168.020

2.074.732

Gifts, grants, and membership

1.955.373

2,285,872

Smithsonian program grants

30,000

146.500

Other

210,397

163,924

Total support and revenue

$16,636,609

$16,635,889

Expenses

Office of the director

Director’s office

$393,693

$441,604

Collection acquisition

656.107

2.124,352

Public affairs and marketing

372.839

554.407

Development and membership

397.328

315,786

Special events

137.674

140,191

Subtotal— Office of the director

$1,957,641

$3,576,340

Office of the deputy director

Deputy director's office

$238,345

$208,131

Curatorial research

1.391,664

1,560.737

Conservation

1.336,691

1.346,518

Collections management

850,022

827,805

Education

823.577

770.983

Publications

466.865

511.379

Library and archives

697,406

693.795

Exhibition coordination

105,178

82.625

Subtotal— Research/coilections

$5,909,748

$6,001,973

Office of the associate director

Associate director's office

$281,922

$309,503

Exhibition design and installation

2,121.945

1.943.676

Facilities management

532.121

517.586

Information technology

727,091

410,427

Photography

366,419

416,886

Subtotal— Office of the associate director

$4,029,498

$3,598,078

Office of finance and administration

Finance, administration, and personnel

$542,788

$457,651

Museum shops

Cost of goods sold

1,061.216

1,026,688

Other costs

1,033.738

1,091,135

Subtotal— Office of finance and administration

$2,637,742

$ 2 , 575,474

Total expenses

$14,534,629

$15,751,865

Excess of support and revenue

over expenses

$2,101,980

$884,024

Fund balance, beginning of year

4,962,116

4.078.092

Fund balance, end of year

$7,064,096

$4,962,116

RESTATED FOR COMPARISON WITH 2002

Annual Benefit Gala

Endowment Funds

Arthur M. Sackler Gallery

MARKET VALUE

MARKET VALUE

Freer & Sackler Galleries

2002 TOTAL

2001 TOTAL*

9/30/02

9/30/01

Else Sackler Public Affairs Endowment

3.967,991

4.568.183

Bill and Mary Meyer Concert

202,386

232,998

For public affairs activities to increase

Series Endowment

awareness of the gallery, its collections,

To fund and support the Bill

and programs

and Mary Meyer Concert Series

Else Sackler Fund

416.217

479.174

Publications Endowment Fund

1,409,200

1.622,353

For fresh flowers at the entrance

For research and publication of

to the Sackler Gallery

the permanent collections

Hirayama Fund

2,360,481

2.717,524

Freer Gallery

For Japanese painting conservation,
research, and training

Freer Estate Endowment
General operating funds, including
acquisitions

89,618,933

103.174.557

Sir Joseph Flotung Fund
For library acquisitions

99,405

114.441

Moynihan Endowment Fund
To further research on the Mughal
emperor Babur

Edward Waldo Forbes Fund
To further scientific study of the care,
conservation, and protection of works

1.809.483

2,083,183

159.729

90.444

of art through lectures, colloquia,
and fellowships

Chinese Art Research Fund
For Chinese art research, projects,
and programs

451.420

519.701

Flarold R Stern Memorial Fund

1.895,774

2.182,526

For increasing the appreciation and

Educational Endowment Fund

1,110.697

1.005,820

understanding of Japanese art

For education programs

Richard Louie Memorial Fund
To support an annual internship for
a student of Asian descent

99.169

113.883

Director's Discretionary Fund
Established by Peggy and
Richard M. Danziger for
exhibitions and projects

415.429

478.266

Camel Fund

132,227

152.227

For research expenses related

Anne van Biema Fund

56.363

to conservation

To increase knowledge and
appreciation of Japanese graphic
arts from 1600 to 1900

On June 26, 2002, the Freer & Sackler
Galleries hosted the third annual gala to
celebrate the opening of The Adventures of
Hamza exhibition, timed to coincide with
the Smithsonian Foiklife Festival, which was
devoted to the Silk Road. The benefit dinner
was a sold-out success. Nearly 270 guests
attended the gala, including Flis Flighness
the Aga Khan and Yo-Yo Ma as well as many
long-standing friends and a number of first-
time visitors. Over $180,000 was raised for
the museum’s exhibitions and educational
programs. The museum is grateful to the
gala committee members and supporters
listed below.

Benefactors

Mr. and Mrs. Flart Fessenden
Pearl Family Fund

Mr. and Mrs. Michael R, Sonnenreich

Patrons

The Morris and Gwendolyn
Cafritz Foundation
Capital Group Companies
Mrs. Arthur M. Sackler
Toyota Motor North America, Inc.
The Washington Post Company

Sponsors

Mr. and Mrs. Richard M, Danziger
Marion and Ashok Deshmukh
Mr. and Mrs. Farhad Ebrahimi
Inwest Investments Ltd.

The Flonorable Daniel P.

Moynihan and Mrs. Moynihan
Shelby White and Leon Levy

Gala Committee

Catherine Benkaim
Afsaneh Beschloss
Gina Despres
Farhad and Mary Ebrahimi
Cynthia Flelms
Eden Rafshoon

RESTATED FOR COMPARISON WITH 2002

ANNUAL RECORD 9

FS |G 2003

Exhibitions

Arthur M. Sackler Gallery

Throughout 2002, the Sackler Gallery displayed images of a multitude of subjects, including giants, sorcerers, dragons,
monasteries, shrines, monkeys, and kabuki superstars. The Sackler's first major exhibition of the year. Word Play:
Contemporary Art by Xu Bing, was the first major exhibition in a museum since I99i for Xu Bing, one of the most uni-
versally acclaimed Chinese avant-garde artists. The show featured works that challenged preconceptions about written
communication, including books and scrolls written in the artist's own Square Word Calligraphy and a major new work,
entitled Monkeys Grasp for the Moon, that the gallery later acquired. The exhibition also featured a classroom in which
visitors learned to write in Square Word Calligraphy.

in late June the Smithsonian held its annual folklife festival, this year entitled The Silk Road: Connecting Cultures,
Creating Trust. The Freer & Sackler celebrated this region of the world with two exhibitions. Sacred Sites: Silk Road
Photographs by Kenro Izu and The Adventures of Hamza. The former allowed visitors to see monasteries, tombs, cities,
and shrines set amid deserts and mountains through Izu's black-and-white photographs, while the latter gave visitors
the opportunity to view sixty-ohe illustrations of an action-filled adventure commissioned by the sixteenth-century
Mughal emperor Akbar

The year ended with the opening of Masterful Illusions: Japanese Prints from the Anne van Biema Collection, which
displayed 138 woodblock prints, featuring stars of the kabuki theater as well prints portraying classical themes from
literature and poetry, drawn from the collection of Anne van Biema.

SPECIAL EXHIBITIONS, LONG-TERM LOANS(*), AND CHANGING THEMATIC SELECTIONS(t)

WORD PLAY: CONTEMPORARY ART
BY XU BING

OCTOBER 21, 2001-MAY 12, 2002
This exhibition was made possible by
the generous support of the Friends of
the Freer & Sackler Galleries, The W. L.
S. Spencer Foundation, the Blakemore
Foundation, FI, Christopher Luce, and
the Ellen Bayard Weedon Foundation.
Additional funding was provided by the
Smithsonian Institution's Special
Exhibition Fund and the Else Sackler
Public Affairs Endowment of the Arthur
M. Sackler Gallery.

HONORING FRIENDS: RECENT GIFTS
BY MEMBERS OF THE FREER & SACKLER
GALLERIES

THROUGH NOVEMBER 25. 2001

VISUAL POETRY: PAINTINGS AND DRAWINGS
FROM IRAN

DECEMBER 16. 2001-MAY 5, 2002

ARTS OF CHINA (LATER CHINESE ART)t

(select objects on loan)

THROUGH FEBRUARY 17. 2002
MARCH lO-OCTOBER 6. 2002

JAPANESE PAINTING*

(highlights from the collection and
important loans)

OPENED FEBRUARY 17, 2002

CONTEMPORARY ART FROM INDIAt

THROUGH MARCH 31, 2002

HAMADRYAD: MEDITATION
AS SCULPTUREt

(select objects on loan)

APRIL 14-SEPTEMBER 15, 2002

SACRED SITES: SILK ROAD
PHOTOGRAPHS BY KENRO IZU

JUNE 9, 2002-JANUARY 5, 2003
This exhibition was supported by the
Friends of the Freer & Sackler Galleries
and the Else Sackler Public Affairs
Endowment of the Arthur M. Sackler
Gallery.

THE ADVENTURES OF HAMZA

JUNE 26-SEPTEMBER 29, 2002
This exhibition was made possible by
generous grants from Juliet and Lee
Folger/The Folger Fund and The Starr
Foundation. Additional funding was pro-
vided by the Friends of the Freer &
Sackler Galleries and the Else Sackler
Public Affairs Endowment of the Arthur
M. Sackler Gallery. This exhibition was
also supported by an indemnity from
the Federal Council on the Arts and the
Flumanities.

KUTANI-STYLE PORCELAIN FROM THE
COLLECTION OF GALLAUDET UNIVERSITYf

JUNE 30-AUGUST 11. 2002

THE CAVE AS CANVAS: HIDDEN IMAGES
OF WORSHIP ALONG THE SILK ROAD

THROUGH JULY 7. 2002

MASTERFUL ILLUSIONS: JAPANESE PRINTS
FROM THE ANNE VAN BIEMA COLLECTION

SEPTEMBER 15. 2002-JANUARY 19, 2003

This exhibition was supported by
the Friends of the Freer & Sackler
Galleries and the Else Sackler Public
Affairs Endowment of the Arthur M.
Sackler Gallery. Major funding for
research and publication was provided
by Anne van Biema.

FOUNTAINS OF LIGHT: ISLAMIC METALWORK
FROM THE NUHAD ES-SAID COLLECTION*

THROUGH MAY 15, 2004

ANCIENT NEAR EAST ARTf

LONG-TERM

THE ARTS OF SIX DYNASTIES AND TANGf

LONG-TERM

INDIAN ARTf

LONG-TERM

SOUTHEAST ASIAN (CAMBODIAN) ARTf

LONG-TERM

CONTEMPORARY JAPANESE PORCELAINf

LONG-TERM

Freer Gallery of Art

At the Freer, exhibitions ranged from Chinese horse paintings to Buddhist sculptures to prints, paintings, and pastel
drawings by American artist James McNeill Whistler. To celebrate the Chinese New Year, Year of the Horse: Chinese
Horse Paintings opened at the Freer in February. The show featured horse paintings and calligraphy from the eleventh
to the twentieth century depicting several major themes, including hunting and nomads.

In December the Freer’s collection of Kenzan works, the largest group found outside of Japan, went on view in The
Potter’s Brush: The Kenzan Style In Japanese Ceramics, an exhibition that explored, among other topics, the issue of
forgery of Kenzan ware. Several months later, Ch/nese Buddhist Sculpture in a New Light also addressed issues of
authenticity and forgery among ivory, metal, and stone Chinese Buddhist sculptures of the sixth through the twentieth
century, featuring several sculptures that had never before been displayed.

In addition, the museum's ongoing exhibition of James McNeill Whistler’s works on paper continued with the opening
of Whistler's Nudes. The show featured thirty-five of the most beautiful and important Whistler nudes done as etchings,
lithographs, pastels, watercolors, and oil paintings.

EXHIBITIONS AND CHANGING THE

C SELECTiONS(t)

REAL AND IMAGINED PLACES
IN JAPANESE ARTt

THROUGH OCTOBER 21. 2001

DINNER FOR FIVE: JAPANESE SERVING
DISHES FOR ELEGANT MEALSt

THROUGH OCTOBER 21, 2001

THE POTTER’S BRUSH: THE KENZAN
STYLE IN JAPANESE PAINTING

DECEMBER 9, 2001-OCTOBER 27. 2002

THREE FRIENDS OF WINTER:

PINE, BAMBOO. AND PLUM IN
CHINESE PAINTINGt

THROUGH JANUARY 21, 2002

YEAR OF THE HORSE:

CHINESE HORSE PAINTINGSf

FEBRUARY 10-SEPTEMBER 2. 2002

ARTS OF THE ISLAMIC WORLDf

THROUGH MARCH 10. 2002
MARCH 24-SEPTEMBER 22, 2002
SEPTEMBER 29. 2002-MAY 11, 2003

STORAGE JARS OF ASIA

THROUGH MARCH 10. 2002

WHISTLER IN VENICE:

THE FIRST SET OF ETCHINGSf

THROUGH MARCH 31, 2002

CHINESE BUDDHIST SCULPTURE
IN A NEW LIGHT

APRIL 14. 2002-MAY 4, 2003

WHISTLER'S NUDESt

APRIL 21. 2002-JANUARY 5. 2003

MORE THAN FLOWERS: SOURCES OF
TRADITION IN JAPANESE PAINTINGf

THROUGH NOVEMBER 24, 2002

ANCIENT CHINESE POTTERY
AND BRONZESt

LONG-TERM

ART FOR ART’S SAKEf

LONG-TERM

BUDDHIST ARTt

LONG-TERM

NEW PAPER SELECTIONS. THROUGH
JANUARY 6. 2002
JANUARY 13-JULY 28, 2002
AUGUST 3. 2002-MARCH 2. 2003

CHARLES LANG FREER AND EGYPTf

LONG-TERM

JAMES MCNEILL WHISTLERf

LONG-TERM

JAPANESE SCREENSt

LONG-TERM

KOREAN CERAMICSf

LONG-TERM

LUXURY ARTS OF THE SILK ROUTE
EMPIRESf

LONG-TERM

SHADES OF GREEN AND BLUE:
CHINESE CELADON CERAMICSf

LONG-TERM

SOUTH ASIAN SCULPTUREf

LONG-TERM

ANNUAL RECORD 11 FS|G2003

Public Programs and Resources

In conjunction with four Sackler exhibitions related to the Silk Road, the galleries' public programs focused
on films and performing arts related to the ancient trade route. More than fifty Silk Road programs were pre-
sented, including concerts, modern dance performances, storytelling programs, and feature films. The series
began with the Washington, D.C., debut of Yo-Yo Ma's Silk Road Ensemble in October. It continued with the
Silk Road Cinemas series, which showcased eight feature films from modern-day sites along the ancient
trade route. For two weeks in June and July, the galleries' first-ever collaboration with the Smithsonian Folk-
life Festival, entitled The Silk Road: Connecting Cultures. Creating Trust, saw more than five thousand visitors
attend twenty-four concerts in the Meyer Auditorium, including ensembles from Turkey, Iran, Azerbaijan,
Uzbekistan. Tajikistan, and Afghanistan, in addition to a return visit by Yo-Yo Ma’s Silk Road Ensemble. Audi-
ences totaling thirty-four hundred attended the museum’s twenty Silk Road Stories sessions, for which
volunteer local residents with roots in Silk Road countries received professional training to perform stories
from their families’ cultures and history. Another seventy-five hundred visitors heard stories based on the
Hamzanama within the exhibition The Adventures of Hamza. Finally, the galleries presented the modern
dance ensemble Dana Tai Soon Burgess and Company in two outdoor performances of Burgess’s "Silk
Roads," "Mandala,’’ and "Leaving Pusan."

Bill and Mary Meyer
Concert Series

This series has been established in
memory of Dr, Eugene Meyer III and
Mary Adelaide Bradley Meyer. It is
generously supported by the New
York Community Trust— The Island
Fund, Elizabeth E. Meyer, and
numerous private donors.

Takacs Quartet

OCTOBER 10, 2001

Yo-Yo Ma and the Silk Road Ensemble

OCTOBER 16. 2001

Musicians from Mariboro i

OCTOBER 24, 2001

Shanghai Quartet

NOVEMBER 27. 2001

Wolfgang Holzmair, baritone,
and Russell Ryan, piano

FEBRUARY 5, 2002

Musicians from Marlboro II
FEBRUARY 20. 2002

Musicians from Marlboro Ml

MAROH 13, 2002

Imogen Cooper, piano

APRIL 9, 2002

Jonathan Biss, piano

MAY 21, 2002

Art Night on the Mall

Ostad Hossein Alizadeh, tar and setar.
Majdid Khalodi, tombak and daf

MAY 30, 2002

This concert was presented in coop-
eration with the World Music Institute,
New York.

Balinese Music and Dance:

Gamelan Mitra Kusuma
JUNE 6, 2002

Thai Cultural Group of Washington, D.C.

JUNE 13. 2002

South Indian Dance Theater:

Tripunithura Kathakali Kendram

JUNE 20. 2002

This performance was presented
in cooperation with Ushas Entertain-
ment and the Federation of Kerala
Associations of North America.

Dana Tai Soon Burgess and Company
JULY 18 AND 19, 2002

Maranao Dances of the Philippines:
Kinding Sindaw
JULY 25, 2002

Malayo-Polynesian Dances from Taiwan:
Tsou Aboriginal Troupe

AUGUST 15, 2002

This performance was presented in
cooperation with the Taipei Economic
and Cultural Representative Office.

Throat Singers of Tuva: Huun-Huur-Tu

AUGUST 22, 2002

Smithsonian Folklife Festival

Classical Music of Iran: Parisa, vocals:
Dariush Talai, tar and setar
JUNE 26-30: JULY 3-7 2002

Uzbek and Tajik Courtly Music
JUNE 27; JULY 4 AND 7 2002

Courtly Music of Azerbaijan
JUNE 28 AND 30: JULY 3 AND 6, 2002

Masters of Afghan Music: Homayoun
Sakhi, Toryalay, and Araa Salmai
JUNE 28: JULY 5. 2002

Bezmara: Sounds of the Sultan’s Palace

JUNE 29; JULY 3, 2002

Yo-Yo Ma and the Silk Road Ensemble

JULY 6, 2002

Asian Music

Amir Koushkani, tar; Eyvind Kang, viola

DECEMBER 14, 2001

Gagaku Today: Ensemble Harena
FEBRUARY 7 2002

This concert was presented in coop-
eration with Music from Japan, Inc.

K. Sridhar, sarod; Anil Datar, tab/a

MARCH 22. 2002

Richard Hagopian Ensemble
MAY 10, 2002

This concert was cosponsored with
Direct Cultural Access, Inc., and
Traditional Crossroads.

Subhra Guha, vocals; Ramesh Mishra,
sarangi: Samir Chatterjee, tab/a

MAY 31, 2002

This concert was supported by the
Silver Foundation, in cooperation with
International Music Associates.

Theater and Storytelling

Dramatic Readings: Asian Stories
in America

MAY 7 AND 14, 2002

Storytelling: Silk Road Stories

JUNE 26-30: JULY 3-7 2002

Indian Theater and Dance:

The Action Players

JULY 13, 2002

This performance was presented in
conjunction with the international arts
festival and conference Deaf Way II.

Kabuki Backstage/Onstage;

Onoe Umenosuke
SEPTEMBER 14, 2002

This demonstration was presented in
conjunction with the Sackler exhibi-
tion Masterful Illusions: Japanese
Prints from the Anne van Biema
Collection.

Musical Tales from Japan:

Elizabeth Falconer

SEPTEMBER 28, 2002
This performance was presented in
conjunction with the Sackler exhibi-
tion Masterful Illusions: Japanese
Prints from the Anne van Biema
Collection.

Special Programs

Hands-On Workshop:

Grab Your Potter's Brush

DECEMBER 2001-OCTOBER 2002

Tibetan Healing Mandala

JANUARY 11-27 2002
This special event was presented in
cooperation with His Holiness the
Dalai Lama and made possible by
grants from an anonymous donor,
Jeffrey F. Cunard, and the R. Robert
and Ada H. Linowes Fund of the
Community Foundation for the
National Capital Region.

Dana Tai Soon Burgess and Company:
The Creative Journey

MAY 2, 2002

This performance was presented in
cooperation with the Smithsonian
Center for Education and Museum
Studies, the Asian Facific American
Heritage Committee, and the
Smithsonian Heritage Months
Steering Committee.

Hamza-Style Painting Today

JULY 2, 2002

Storytelling: The Adventures of Hamza
JUNE 26-SEPTEMBER 29, 2002

ANNUAL RECORD 12 FS|G 2003

Films

This year's film highlight was the
Freer Gallery's participation in the
world's first comprehensive retro-
spective of the works of Indian direc-
tor Satyajit Ray. For this series, which
included forty films at six Washington
venues, the Freer hosted an opening
reception with American filmmaker
Martin Scorsese. Screenings at the
Freer featured appearances by such
luminaries as actress Sharmila Tagore,
actor Soumitra Chatterjee, director
Shyam Senegal, film scholar Suran-
jan Ganguly, author Ashis Nandy, and
archivist Dilip Basu. In addition, the
rhuseum collaborated for the third
time with the National Gallery of Art
and Cinematheque Ontario in a ret-
rospective of an important Japanese
director. Ten of Kon Ichikawa's films
were screened at the Freer, conclud-
ing with a personal message from the
director, read by his daughter. More-
over, the Freer's three annual series
continued with the fourth Asian
Pacific American Film Festival:
the sixth Iranian film series, which
focused on new directors: and the
galleries' seventh Flong Kong film
festival, which this year drew more
than five thousand visitors to
twenty screenings.

TURKISH CINEMA NOW

(continued from September 2001)

This series was organized in coopera-
tion with the Moon and Stars Project
(New York) and cosponsored with the
Cultural Expansion Initiative of the
American Turkish Association, the
American Turkish Society of
Washington, D.C., and Smislova,
Kehnemui & Associates.

House of Angels

( 2000 , directed by Omer Kavur)
OCTOBER 5 , 2001

A Madonna in Laleli

(1998. directed by Kudret Sabanci)

OCTOBER 7 , 2001V

On Board

( 1998 , directed by Serdar Akar)
OCTOBER 7 . 2001

Balalayka

(2000, directed by Ali Ozgenturk)
OCTOBER 12 , 2001

DC ASIAN PACIFIC AMERICAN
FILM FESTIVAL

This series was presented jointly at
the Freer Gallery of Art and the
Flirshhorn Museum and Sculpture
Garden and cosponsored with the
Smithsonian Program for Asian
Pacific American Studies: The
Washington Post: Differential
Consulting, Inc.: and the D.C.
Commission of Arts and Flumanities.

No Hop Sing, No Bruce Lee: What Do
You Do When None of the Heroes
Look Like You?

(1998, directed by Janice Tanaka)
OCTOBER 13. 2001

Yellow Apparel: When the Coolie
Becomes Cool

(2000, directed by Anmol Chaddha,
Naomi Iwasaki, Sonya Zehra Mehta,
Muang Saechao, and Sheng Wang)
OCTOBER 13, 2001

Love Match

(directed by Anita Chabria)

OCTOBER 13. 2001

Wide Eyed

(directed by Jane Kim)

OCTOBER 13. 2001

A Great Deal

(directed by Debbie Lum)

OCTOBER 13. 2001

Angry Little Asian Girl
(directed by Lei a Lee)

OCTOBER 13. 2001

Imaginary Friends
(directed by Sue Chen)

OCTOBER 13. 2001

Drift

(2001. directed by Quentin Lee)
OCTOBER 14 , 2001

Shopping for Fangs

( 1998 , directed by Quentin Lee)

OCTOBER 14, 2001

Sex, Love, and Kung Fu

(2000. directed by Kip Fulbeck)

OCTOBER 14, 2001
Blue Love

(2000, directed by Yiuwing Lam)
OCTOBER 14 , 2001

Split Horn: Life of a Hmong Shaman
(2001. directed by Taggart Siegel)
OCTOBER 20, 2001

The Debut

(2000, directed by Gene Cajayon)
OCTOBER 20. 2001

PASSPORT TO ICHIKAWA

This retrospective, presented jointiy
at the Freer Gallery of Art and the
National Gallery of Art, screened
films by Japanese director Kon
Ichikawa.

Fires on the Plain
(1959)

NOVEMBER 2. 2001

Odd Obsession
(1959)

NOVEMBER 4, 2001

Her Brother
(1960)

NOVEMBER 9. 2001

Money Talks

(1964)

NOVEMBER 11. 2001

Punishment Room
(1956)

NOVEMBER 16, 2001

Bonchi

(1960)

NOVEMBER 18, 2001

A Billionaire
(1954)

NOVEMBER 30, 2001

Ten Dark Women
(1961)

DECEMBER 2, 2001

A Fuil-Up Train

(1957)

DECEMBER 7 2001

I Am Two

(1962)

DECEMBER 9. 2001

IRANIAN CINEMA: NEW DIRECTORS,
NEW DIRECTIONS

This sixth annual series was pre-
sented in cooperation with the Farabi
Cinema Foundation (Tehran), Iranian
Independents, and CMI.

Djomeh

(2000, directed by Flassan
Yektapanah)

JANUARY 18 AND 20, 2002

Paper Airplanes

( 1997 . directed by Farhad Mehranfar)
JANUARY 25 AND 27 2002

Under the Moonlight

(2001. directed by Seyyed Reza
Mi-Karimi)

FEBRUARY 1 AND 3. 2002
Going By

(2001, directed by Iraj Karimi)

FEBRUARY 15 AND 17, 2002

Unfinished Song

(2001. directed by Maziar Miri)

FEBRUARY 22 AND 24, 2002
Tabaki

( 2001 , directed by Bahman
Kiarostami)

FEBRUARY 22 AND 24, 2002

THE COMPLETE SATYAJIT RAY:
CINEMA THROUGH THE INNER EYE

This retrospective of films
by Satyajit Ray was presented
jointly at the Freer Gallery of
Art, the National Gallery of Art,
the National Geographic Society,
the National Museum of Natural
Flistory, the Library of Congress,
and the National Museum of
Women in the Arts. It was
cosponsored with the Smith-
sonian Center for Education and
Museum Studies, the Embassy of
India, the Academy of Motion
Picture Arts and Sciences, Filmfest
DC, the Environmental Film Festi-
val, and the Satyajit Ray Film and
Study Center at the University of
California-Santa Cruz.

The Music Room
(1958)

MARCH 1. 2002.

The Adventures of Goopy and Bagha
(1968)

MARCH 2, 2002

Distant Thunder

(1973)

MARCH 15, 2002

Days and Nights in the Forest
(1969)

MARCH 17, 2002

The Kingdom of Diamonds
(1980)

MARCH 24. 2002

Company Limited

(1971)

APRIL 5, 2002

Three Daughters
(1960)

APRIL 7, 2002

The Middleman
(1975)

APRIL 12. 2002

Charulata

(1964)

APRIL 21, 2002

The Stranger
(1991)

APRIL 28, 2002

SILK ROAD CINEMAS

This film selection was presented in
conjunction with four Sackler Gallery
exhibitions focusing on the Silk Road.

The Silk Road

( 1992 . directed by Junya Sato)

MAY 11, 2002

The Fall of Otrar

(1991. directed by Ardak Amirkulov)
MAY 12, 2002

Delbaran

(2001, directed by AbolfazI Jalili)

MAY 17 AND 19, 2002

Three Brothers

(2000. directed by Serik Aprymov)

JUNE 2, 2002

Luna Papa

(1999, directed by Bakhtyar
Khudojnazarov)

JUNE 7, 2002

PROGRAMS

Killer

(1998, directed by Darezhan
Omirbayev)

JUNE 14, 2002

Beshkempir: The Adopted Son
(1998, directed by Aktan Abdykalykov)
JUNE 16. 2002

Joan of Arc of Mongolia

(1989. directed by Ulrike Ottinger)

JUNE 23. 2002

MADE IN HONG KONG

This seventh annual festival was
cosponsored with the Hong Kong
Economic and Trade Office.

La Brassiere

(2001, directed by Chan Hing Kai and
Patrick Leung)

JULY 11 AND AUGUST 4. 2002

A Chinese Odyssey 1: Pandora's Box

( 1995 , directed by Jeffrey Lau)

JULY 12 AND AUGUST 16, 2002

A Chinese Odyssey 2: Cinderella
(1995, directed by Jeffrey Lau)

JULY 12 AND AUGUST 18, 2002

The Stormriders

( 1998 . directed by Andrew Lau)

JULY 14 AND AUGUST 16, 2002

In the Mood for Love

(2000. directed by Wong Kar-Wai)

JULY 21 AND 26, 2002
City of Glass

(1998, directed by Mabel Cheung)
JULY 26 AND AUGUST 1. 2002

Hu Du Men

(1996. directed by Shu Kei)

AUGUST 2 AND 8, 2002

Fighting for Love

(2001, directed by Joe Ma)

AUGUST 2 AND 9, 2002

Twelve Nights

( 2000 , directed by' Aubrey Lam)

AUGUST 9 AND 23, 2002

Time and Tide

(2000. directed by Tsui Hark)

AUGUST 23 AND 25, 2002

KABUKI ON FILM

This series was presented in conjunc-
tion with the Sackler Gallery exhibition
Masterful Illusions: Japanese Prints
from the Anne Van Biema Collection
and continued through October 2002.

The Written Face

(1995, directed by Daniel Schmid) '
SEPTEMBER 13. 2002

Demon Pond

(1980, directed by Masahiro Shinoda)
SEPTEMBER 15. 2002

An Actor's Revenge

(1935, directed by Teinosuke Kinugasa)
SEPTEMBER 22, 2002

The Scandalous Adventures of Buraikan
(1970, directed by Masahiro Shinoda)
SEPTEMBER 27, 2002

Lectures and Symposia

GALLERY TALKS BY MEMBERS OF THE
STAFF AND FELLOWS

"The Cave as Canvas: Hidden Images
of Worship along the Silk Road”

OCTOBER 9, 2001

Andrew Leung

"Word Play: Contemporary Art
by Xu Bing”

NOVEMBER 13. 2001

Joseph Chang

"The Potter's Brush: The Kenzan
Style in Japanese Ceramics”

DECEMBER 11, 2001

Louise Oort

"Chinese Carvings”

JANUARY 8, 2002

Jan Stuart

“Year of the Horse: Chinese
Horse Paintings”

FEBRUARY 10 AND MARCH 12. 2002

Joseph Chang

“More than Flowers: Sources of
Tradition in Japanese Painting”

APRIL 9, 2002

James T. Ulak

“Whistler's Nudes”

MAY 14, 2002

Kenneth Myers

“Sacred Sites: Silk Road Photographs
by Kenro Izu"

JUNE 11. 2002

Debra Diamond

"Luxury Arts of the Silk Road Empires”

JUNE 26 AND 28, 2002

Ann Gunter

"The Cave as Canvas: Hidden Images
of Worship along the Silk Road” and
"Sacred Sites: Silk Road Photographs
by Kenro Izu”

JUNE 27 AND JULY 7, 2002

Debra Diamond

“The Adventures of Hamza”

JUNE 29. JULY 3. AND AUGUST 13. 2002

Massumeh Farhad

“Hamadryad: Meditation as Sculpture”

JULY 9, 2002

Ann Yonemura

GUEST LECTURES

“Behind the Words/Beyond Language:

The Xu Bing Exhibition”

OCTOBER 21, 2001

Xu Bing and Britta Erickson,

guest curator

“The ‘Three Friends of Winter' in the
Visual Arts of China”

NOVEMBER 29, 2001

Richard Pegg, art historian

"Satyajit Ray: In Search of the Modern”

APRIL 18. 2002

Suranjan Ganguly, University of
Colorado-Boulder

“The Legacy of Satyajit Ray”

APRIL 26, 2002

Dilip Basu, archivist; Shyam Senegal,
director: Ashis Nandy, author: and Pat
Aufderheide, American University

“Battle Charges, Nags, and Nomad
Ponies: The Horse in Chinese Painting”

MAY 23, 2002

Robert E. Harriet Jr, Columbia
University

"Sacred Sites: Silk Road Photographs
by Kenro Izu”

JUNE 6, 2002

Kenro Izu

“From Ancient Tellers of Tales: The
Hamzanama at the Mughal Court”

JUNE 27, 2002

John Seyller guest curator

"Early American Collectors of
Japanese Prints”

SEPTEMBER 19, 2002

Julia Meech, art historian

SYMPOSIA

Who Defines the Contemporary?

Biennials and the Global Art World
JANUARY 12, 2002

This symposium was organized by
the Smithsonian Institution's Interna-
tional Art Museum Division. It was
sponsored by the Else Sackler
Foundation in memory and honor
of Mrs. Else Sackler.

Dan Cameron, moderator, curator,
and art critic

Hou Hanru, curator and art critic
Sue Williamson, artist and author
Paulo Herkenhoff, curator and art critic

“Visual Poetry: Paintings and
Drawings from Iran”

FEBRUARY 12, 2002

Massumeh Farhad

ANNUAL RECORD 14 FS|G 2003

ImaginAsia

ImaginAsia family program activity books,
hands-on art projects, dance classes, story-
telling, and activity sheets enhanced the
museum experience for over seventeen thou-
sand visitors to the Freer & Sackler Galleries,
more than doubling the ImaginAsia participa-
tion of the previous year. The number of activ-
ity books and worksheets available at the visi-
tor information and Associates' reception
center (VIARC) desks also doubled, totaling
fifty-three hundred. The activity books and art
projects for the Fountains of Light and Arts of
the Islamic World exhibitions were revised and
added to ImaginAsia’s schedule. New activity
books to explore the permanent collection
included Sacred Lotus. Symbolic Bamboo and
Jewels of the Gods and were complemented
by hands-on workshops. In addition, an activity
sheet related to the painted Pakistani truck
parked at the entrance to the Sackler served
twenty-eight hundred visitors. ImaginAsia also
expanded its series of demonstrations and
hands-on projects, including kathak perform-
ances and classes held by dancer Bhim Dahal,
which were attended by sixty-five hundred
participants.

The creation of a Tibetan Buddhist sand
mandala at the Sackler and the display of the
Freer’s four-mandala Vajravali thangka provided
a unique opportunity to introduce many new
visitors to the Freer & Sackler collection of
Buddhist art. A special guidebook to examine
the thangka and the ImaginAsia activity book
In the Footsteps of the Buddha enabled twelve
hundred visitors to explore the museum's per-
manent collection of Buddhist art.

ImaginAsia also continued its outreach to chil-
dren with disabilities by scheduling special ses-
sions for children from St. Elizabeth's Flospital
and from the Montgomery County program
Teaching Our Way for children with emotional
problems. The kathak dance program traveled
to George Mason University to benefit a schol-
arship fund for disadvantaged students in Nepal.

Docents and Tours

This year the education department recruited
and trained sixteen new docents, bringing the
museum's docent total to eighty. The new
docents make up the most culturally diverse
group recruited to date: they have ties to many
of the cultures represented in the museum's
collections and speak ten languages.

Despite the overall drop in Smithsonian-wide
attendance in the fall, the Freer & Sackler wit-
nessed an increase in the number of people ■
served through museum tours. Especially
important to note is the approximately 9 per-
cent increase in the number of students served
at the museum during the 2001-2 academic
year, despite school and parental concerns
regarding security.

The museum's docent team presented 277
tours to reserve groups, serving forty-five hun-
dred students and forty-five hundred adults.

A total of 817 walk-in tours were offered, serving
4.850 visitors, of which 4.66O were adults and
190 were children. The total number of visitors
served by the expanding tour program was
13,850. The following tours were given
throughout the course of the past year:

Art Makers, World Shapers
Arts of China
Arts of the Islamic World
Arts of Japan
Arts of South Asia
Ceramics in Asian Culture
Discovering the Treasures of
the Freer Gallery of Art
Flindu and Buddhist Arts
Tours related to specific exhibitions

Special Programs

The museum's multiple-visit program for
schools included three in-class artist presenta-
tions followed by a visit to the Freer & Sackler
to learn about art related to the program's the-
matic content. In its second year, the program
provided over one hundred presentations and
museum tours for fourth- through sixth-
graders in the area public schools. The
museum established partnerships with seven-
teen classes in five schools in the District,
through which four hundred children experi-
enced six encounters with the museum over
the course of the school year.

In addition, a grant from the Grable Foundation
made possible the creation of the Laughter
Project. The museum's educators developed
partnerships with nine schools and community
organizations in the metro area and offered
some four hundred adult students of English a
four-part curriculum, including one guided visit
to view and discuss the Word Play exhibition
and its relationship with language.

Teacher Resources

This year the education department published
two curriculum guides— The Art of Buddhism
and Arts of the Islamic World— marking the
inauguration of a series of six teacher packets
slated for publication over the next three years.
These materials were created in cooperation
with the thirty-member FSG Teaoher-Consult-
ants Group (TCG), which aids in the writing,
reviewing, and critiquing of museum materials
and programs. The Art of Buddhism and Arts
of the Islamic World were supported by grants
from the MARPAT Foundation and the Gilbert
and Jaylee Mead Family Foundation. The edu-
cation staff and the TCG also produced a bian-
nual newsletter with museum information and
instructional resources focusing on a featured
exhibition.

In addition, the department hosted seven
workshops during the school year, serving
almost three hundred teachers. Many of the
workshops involved collaboration with other
institutions and organizations, including the
Association for Asian Studies, the National
Council for Social Studies, the Philadelphia
Museum of Art, the World Flistory Association,
and the DC Arts and Humanities Education
Collaborative.

PROGRAMS

Gallery Shop Programs

With a reputation for outstanding selection and excellent customer service, the gallery shops continued
to live up to the title of Best Smithsonian Shop, awarded to the Freer & Sackler shops by the Washington
Post The shops expanded their presence both on and off the Mall, participating in a number of off-site
sales events and operating several exhibition-related in-house satellite shops. E-commerce continued to
increase as more items— books, in particular— were added to the shop's website. Shop-sponsored author
events once again flourished, and, as in recent years, the shops continued to assist a retail operation in
India while continuing participation in a World Bank-sponsored project to improve the economic situation
of Indian craftspeople. As a result of these efforts, the museum’s sales and profits both increased.

THE GALLERY SHOPS SPONSORED THE FOLLOWING EVENTS DURING FISCAL YEAR 2002

Meet the Author

Wuhu Diary: On Taking My Adopted
Daughter Back to Her Hometown in
China

Emily Prager
OCTOBER 2, 2001

By Order of the President: FDR and the
Internment of Japanese Americans
Greg Robinson
NOVEMBER 8. 2001

Mysteries of the Desert: A View of
Saudi Arabia
Isabel Cutler
DECEMBER 11. 2001

Music of a Distant Drum: Classical
Arabic, Persian, Turkish, and Hebrew
Poems

Bernard Lewis
DECEMBER 17, 2001

Sounds of the River

Da Chen
MARCH 4, 2002

The House of Biue Mangoes
David J. Davidar
APRiL 1. 2002

The Asian American Century
Warren I. Cohen
APRIL 10, 2002

The Corrections
Jonathan Franzen
MAY 9. 2002

To Be the Poet
Maxine Hong Kingston
SEPTEMBER 20, 2002

Asian Book Club

Volunteers Nancy Sanders and
Tex VathIng continued to lead this
monthly group in their lively dis-
cussions of Asian-related fiction
featured in the shops.

Demonstrations

Japanese Gift Wrapping
Alison Kaufman
NOVEMBER-DECEMBER 2001

Silk Road Painting

Damba Tsolmon

JULY-AUGUST 2002

Off-Site Holiday Sales Events

Strathmore Arts Center in
Rockville, Maryland
NOVEMBER 9-12, 2001

McLean Community Center in
McLean, Virginia
NOVEMBER 23-25, 2001

On-Site Satellite Shops

Attic Sale

DECEMBER 6-9, 2001

Tibetan Mandala

JANUARY 11-27. 2002

Smithsonian Folklife Festival

JUNE 26-30 AND JULY 3-7, 2002

Adventures of Hamza

JUNE 26-SEPTEMBER 29, 2002

Cherry Blossom Festival

Co-sponsorship of the D.C. mayor'
National Cherry Blossom Festival
poster contest, including product
development and marketing,
MARCH-APRIL 2002

ANNUAL RECORD 16 FS | G 2003

Lectures and Research Programs

Lectures by Members of the Staff

Chang, Joseph. "Three Friends of Winter:

Pine, Bamboo, and Plum in Chinese Painting."
Eighteenth Annual Gettysburg College Area
Studies Symposium, Gettysburg, Pa.,

MARCH 21, 2002.

. "Chinese Seals In the Collections of the

Arthur M. Sacker Gallery and the Freer Gallery
of Art." New England East Asian Art History
Seminar, Identity and Authenticity: A Sympo-
sium on Chinese Seals. Harvard University,
Cambridge, Mass.. April 13. 2002.

. "The Landscapes of Chiang Chao-shen."

International Symposium on the Art of Chao-
shen Chiang, Taipei National University of the
Arts, Taipei, Tawian, may 30, 2002.

Chase, Ellen Saizman. “Rhapsody in Blue:
Kingfisher Feather Cloisonne in the Arthur
M. Sackler Gallery." With Blythe McCarthy.
Thirtieth Annual Meeting of the American
Institute for Conservation of Historic and
Artistic Works. Miami, Fla., June 9, 2002.

Cort, Louise Allison. “Early Ceramic Produc-
tion in the Shigaraki Valley: An Outline of Its
Social and Economic Basis." In Japanese, as
keynote speech. Symposium entitled Kinsei
Shigarakiyaki o megutte (Issues regarding
Shigaraki ceramics in the Early Modern
Period), Shigaraki Ceramic Cultural Park,
Shigaraki, Japan, November 10, 2001.

. "Research on Khmer Ceramics in

the Arthur M. Sackler Gallery Collection."
Symposium entitled Scientific Studies on
Ceramic Trade in East Asia. Nara National
Research Institute for Cultural Properties,

Nara, Japan, January 22, 2002.

. “Portrait of a Moment: Collecting

Japanese Ceramics in 1972-73." Herbert F.
Johnson Museum of Art. Cornell University,
Ithaca, N.Y., February 21, 2002.

. With Hayashiya Seize. "Avant-Garde

Then and Now: Japanese Tea Utensils, Six-
teenth Century to the Present.” Asia Society,

New York, N.Y, march 8, 2002.

. "Portrait of a Moment: Collecting

Japanese Ceramics in 1972-73." Newark
Museum, Newark, N.J., April is, 2002.

. With Otani Shiro. “The Ceramic

Traditions of Shigaraki." Portland Art Museum,
Portland, Oreg., July 21. 2002.

Diamond, Debra. "Copying as Citation." Clark
Art Institute Fellows Talk, Williamstown, Mass.,
FEBRUARY 2002.

Douglas, Janet G. "Applications of Fourier-
Transform Infrared Spectroscopy (FTIR) to
the Study of Ancient Chinese Jades." Poster
presentation. Fifth International Infrared and
Raman Users Group Conference, The J, Paul
Getty Center, Los Angeles, Calif., march 4 - 8 , 2002.

Farhad, Massumeh. “Understanding Islamic
Culture through Art at the Freer Gallery of Art."
Smithsonian Institution community. Freer
Gallery of Art, Washington, D.C., October 23
AND 25, 2001.

. Islam Today Workshop. Evening for

Educators Series, Asia Society, Washington,
D.C., NOVEMBER 8, 2001.

. "The Freer/Sackler Reaches Out." Fifty-

eighth Quarterly Meeting of the Smithsonian
Forum on Material Culture, entitled Towards
Understanding and Healing: Smithsonian
Responses to September 11 th. Smithsonian
Institution, Washington, D.C., December 6, 2001.

"Understanding Islam through Art."

Smithsonian Institution/Montgomery College
Teachers Seminar, Freer Gallery of Art,
Washington, D.C.. march 1. 2002.

. “Visual Poetry: Paintings and Drawings

from Iran." Trinity College Alumni Association,
Washington, D.C., march 16. 2002.

. "Paradise Unspoiled: Painting in Six-
teenth-Century Safavid Iran." Emory University,
Atlanta, Ga., march 28, 2002.

. "The Arts of the Book in Mughal India."

Museum of Fine Arts, Asia Society Asian Art
Series, Houston, Tex., June 30 , 2002.

Giaccai, Jennifer. "Identifying Enji: An Exami-
nation of Red Insect Dyes." Poster presentation.
Eastern Analytical Symposium, Atlantic City,
N.J., OCTOBER 1-4, 2001,

Gunter, Ann C. "Art of the Hittite Empire."
Graduate seminar. Department of Near Eastern
Studies, Johns Hopkins University, Baltimore,
Md., spring 2002,

Jett, Paul. "Corrosion in Art and Archaeology."
Joint meeting of the National Capital Section
of the Electrochemical Society and the Balti-
more/Washington chapter of the National
Association of Corrosion Engineers,
Washington, D.C., February 26, 2002.

. "Metals in a Museum Environment."

George Washington University, Washington,
D.G., SEPTEMBER 17 AND 19. 2002.

McCarthy, Blythe. "Early Historic Period
Ceramic Smoking Pipes from Budhigarh,
in the Kalahandi District of Orissa, India."

With Christine Downie and Pradeep Mohanty.
Symposium entitled Materials Issues in Art
and Archaeology VI. Boston, Mass.,

NOVEMBER 27, 2001.

. "Analysis of Cizhou Monochrome

Green Enamels and Lead Glazes from Guantai
Kiln in Northern China, Song to Jin Dynasty."
With Liu Wei. Symposium entitled Materials
Issues In Art and Archaeology VI. Boston,

Mass., NOVEMBER 29 2001.

. "Gilding on Bronze." Johns Hopkins

University Baltimore, Md., February 26. 2002.

. "Rhapsody in Blue: Kingfisher

Feather Cloisonne in the Arthur M. Sackler
Gallery," With Ellen Saizman Chase. Thirtieth
Annual Meeting of the American Institute for
Conservation of Historic and Artistic Works,
Miami, Fla., June 9 2002.

Myers, Kenneth John. "American Art at the
Freer Gallery of Art." Museum Studies program,
George Washington University, Washington,

D,C„ OCTOBER 2. 2001.

"Thomas Cole and the Popularization

of Landscape Experience in the United States."
Symposium entitled Thomas Cole: Two Hun-
dred Years of the American Vision. Thomas
Cole National Historic Site and Olana State
Historic Site, Hudson, N.Y, October 13, 2001.

Introduction and chair's commentary.

Panel entitled "Disciplinary Boundaries and
Frontiers of Knowledge: New Perspectives
on Visual Culture and Learning in American
History." Annual Meeting of the American
Historical Association, San Francisco, Calif.,
JANUARY 6. 2002.

"Whistler's Late Nudes and the

Spiritualization of Feminine Beauty in Late
Nineteenth-Century American Art." Department
of the History of Art, University of Glasgow,
Scotland, may 1, 2002.

. "Whistler's Late Nudes at the Freer

Gallery of Art." Washington Print Club,
Washington, D.C., may 19 2002.

Stuart, Jan. "Chinese Ancestor Portraits."

Burke Lecture. University of Indiana,
Bloomington, Ind., November 29 2001,

. Discussant. Symposium entitled

Icons in Chinese Art. Bard Graduate Center for
Decorative Arts, New York, N.Y, april 26, 2002.

. "The Art and History of the Garden of

the Artless Official, Suzhou." Symposium spon-
sored by Columbia University and the Chinese
Scholar's Garden, New York, N.Y, April 27 2002.

. "A Curator's Views on Displaying and

Collecting Chinese Art." Annual National
Associates Members' Lecture. Smithsonian
Associates, Washington, D.C., may 3, 2002.

“Beyond Bats: Symbols and Meaning

in Chinese Art Motifs." Cosponsored by Tudor
Place and Asia Society, Washington, D.C.,

MAY 31. 2002,

"Reading Pots: Meaning and Decoration

in Chinese Porcelains," "Traditions of Display:
Chinese Art Objects and Custom-Made Pedestals,"
and "Worshiping the Ancestors: Chinese Ritual
and Commemorative Portraits." Landsdowne
Speaker. University of Victoria, Victoria, b.c.,
Canada, September 22-23. 2002.

Tully, E. D, "The Conservation of a Third-
Century B.c.E, Chinese Bronze Dagger-Axe with
Organic Remains." Thirtieth Annual Meeting of
the American Institute for Oonservation of
Historic and Artistic Works, Miami, Fla.,

JUNE 9 2002.

Ulak, James T. "Affecting Eccentricity:

Materials and Techniques in the Visions of
Jakuchu and Shohaku." New Orleans Museum
of Art, New Orleans, La., September 2002.

Yonemura, Ann. "Kyoyuzen: Textile Design
and Japanese Painting." Japan Information and
Culture "Center (JICC), Embassy of Japan,
Washington, D.C., JUNE 11, 2002.

PROGRAMS

Research Programs

ONGOING STAFF RESEARCH PROJECTS

Allee, Stephen, in collaboration with Joseph
Chang. Song and Yuan paintings in the Freer
Gallery of Art (with Ingrid Larsen and sup-
ported by the E. Rhodes and Leona B.

Carpenter Foundation): In Pursuit of Heavenly
Harmony: Paintings and Calligraphy by Bada
Shanren from the Estate of Wang Fangyu and
Sum Wa! (exhibition and catalogue, April 2003);
Chinese seals, paintings, and calligraphy in the
Dr. Paul Singer Collection of Chinese Art of the
Arthur M. Sackler Gallery: Xie Zhiliu seals,
paintings, sketches, and calligraphy.

Chang, Joseph. Song and Yuan paintings in
the Freer Gallery of Art (with Ingrid Larsen and
Stephen Allee, and supported by the E. Rhodes
and Leona B. Carpenter Foundation): In Pursuit
of Heavenly Harmony: Paintings and Calligraphy
by Bada Shanren from the Estate of Wang
Fangyu and Sum Wal (exhibition and catalogue,
April 2003, with Stephen Allee): Chinese seals,
paintings, and calligraphy in the Singer gift: Xie
Zhiliu seals, paintings, sketches, and calligraphy,
with Stephen Allee: Wang Yachen painting, callig-
raphy, and seals: contemporary Chinese art.

Chase, Ellen Saizman. Study of Chinese king-
fisher feather jewelry, with Blythe McCarthy:
conservation and technical study of Asian
ceramics.

Cort, Louise Allison. Isamu Noguchi and
Modern Japanese Ceramics (exhibition and
book. MAY 2003): contemporary earthenware and
stoneware production in mainland Southeast
Asia, with Leedom Lefferts: Temple Potters of
Purl (book): diary of Morita Kyuemon (book):
Kyushu and Kyoto ceramics (Freer permanent
collection catalogues).

Diamond, Debra. Rajput & Co. painting: citation
in Jodhpur Painting (book, forthcoming); 'The
Politics and Aesthetics of Citation," in New Art
History and Indian Art, ed. Shivaji Panikkar, Gu|-
arat: University of Baroda Press (forthcoming).

Douglas, Janet G. Chinese jades, including
their mineralogy, methods of manufacture,
surface treatments and alteration: technical
methods for authentication of stone sculpture;
collaborative project with the National Museum
of Cambodia, Phnom Penh, on the characteriza-
tion of early Cambodian stone sculpture.

Farhad, Massumeh. The Arts of the Book from
the Islamic World: A Catalogue of the Arabic,
Persian, and Turkish Works of Art on Paper in
the Freer Gallery of Art (book): Cultural Appro-
priation: The Case of the Fifteenth-Century
Gullstan of Sa 'di In the Freer Gallery of Art
(article in the forthcoming Occasional Papers
series): the work of Ali Quii Jabbadar in the late
seventeenth century: Falnama:-Book of Omens
(exhibition and catalogue).

Giaccai, Jennifer. Studies of East Asian paintings
using scientific methods: characterizing and dif-
ferentiating insect dyes using HPLC and nonde-
structive three-dimensional UV-fluorescence
measurements: survey of pigments used on
Chinese paintings.

Gunter, Ann C. Ancient Iranian Ceramics In the
Arthur M. Sackler Gallery (book): Late Bronze
and Early Iron Age Ceramics from KInet HOyuk,
Turkey (book).

Jett, Paul. Ancient metalworking technology in
China and West Asia, with an emphasis on gold
and gilding.

Larsen, Ingrid. Song and Yuan paintings in the ,
Freer Gallery of Art (with Stephen Allee and
Joseph Chang, and supported by the E. Rhodes
and Leona B. Carpenter Foundation).

Lee, Christine. More than i,250 jades in the
Freer & Sackler collections under the direction
of Dr. Jenny So, former curator of ancient
Chinese art (catalogue), and supported by the
E. Rhodes and Leona B. Carpenter Foundation.

McCarthy, Blythe. Technical studies of Asian
ceramics: study of Chinese kingfisher feather
jewelry, with Ellen Chase.

Myers, Kenneth John. Intellectual history of
Freer's collection of American art (book and
exhibition): “Whistler in Venice: The Freer Gal-
lery of Art Pastels," in Whistler and His Circle
in Venice, ed. Eric Denker (forthcoming): By
Whistler's Design: Small Masterpieces from
an 1884 Exhibition (article and exhibition, 2003):
Nocturne: Whistler and the Tradition of Night
Painting in Europe, Japan, and the United States
(catalogue and exhibition): Thomas Kelah Whar-
ton's drawings of the David Flosack estate at
Flyde Park, New York (article): Thomas Kelah
Wharton's 1830-34 journal (book, to be pub-
lished by Syracuse University Press).

Norman, Jane. Technical studies and conserva-
tion of East Asian and Islamic lacquer, particu-
larly the adaptation of Japanese and Chinese
treatment methods in the context of American
conservation practices: recent focus on assess-
ing degraded lacquer surfaces and the impact
of cleaning them.

Slusser, Mary. Flimalayan art and culture:
conservation study of some early Nepalese
paintings.

Smith, Martha. Technical study of the prints by
James McNeill Whistler (emphasis on materi-
als), to be completed in 2003: study of Islamic
paper in the Freer & Sackler collections: joint
study on funori with Joseph Swider.

Stuart, Jan. Artistic and cultural aspects of
Chinese Buddhist sculpture and devotional
objects and Chinese gardens, including con-
tributing to a book to be published in associa-
tion with Dumbarton Oaks and Flarvard:
Ming-dynasty court art that will lead to an
exhibition at the Freer.

Swider, Joseph R. Characterization of Chinese
Ink using instrumental methods; collaborating
with the dispersion laboratory at the National
Institute of Standards and Technology (NIST).

Ulak, James T. Blossoms on the Wind: Master
Paintings from Twentieth-Century Japan (book,
forthcoming): "Three Eccentrics: Ito Jakuchu,
Soga Shohaku, Nagasawa Rosetsu,” in An
Enduring Vision: I7th- to 20 th-Century Japanese
Painting from the Gitter-Yelen Collection, ed.
Tadashi Kobayashi and Lisa Rotondo-McCord
(New Orleans: New Orleans Museum of Art
and Marquand Books, 2002); co-curator for
Rebuidling an Imperial City: Koizumi KIshlo's
Visions of Tokyo in the 1930S (Wolfsonian
Museum, Miami Beach, Fla., September 2003):
"The Art of Propaganda: Japanese Views of
the War with Russia," in Russia, East Asia,
and Japan at the Dawn of the 20 th Century:

The Russo-Japanese War Reexamined (Leiden:

E. J. Brill, forthcoming).

Winter, John. Studies of East Asian paintings
using scientific methods, funded by The Andrew
W, Mellon Foundation: research on Chinese Ink,
with Joseph R. Swider: research of organic red
and brown pigments, with Jennifer Giaccai.

Yonemura, Ann. Three hundred thirty-two
Japanese prints in the collection of Anne van
Biema (exhibition and catalogue); current and
ongoing research on interrelationships between
Japanese lacquer, painting, and calligraphy,
particularly in the use of gold and silver as an
artistic medium and art of the RImpa school
in the Freer.

FELLOWS RESEARCH PROJECTS

Ecker, Heather. Smithsonian Post-doctorate
HART Fellow. “Between Mahfuz and Maqru':
Decoding the Production of Early Abbasid
Qur'ans."

Flood, Finbar B. Smithsonian Post-doctoral
Fellow. "Translated Stones: Rewriting Indo-
Muslim Monuments."

Ingeman, Lara. Smithsonian Pre-doctoral
Fellow. "Meditations on Paintings: Inscriptions
on Paintings in the Discourse Records of South-
ern Song (1126-1279) Chan Masters": "Scholar
Meets Cowherd: Images and Ideas of Rebirth
in Later Chinese Painting" (forthcoming article).

Tully, E. D. Samuel H. Kress Conservation
Fellow. Technical study of turquoise inlaid
Chinese bronze belt hooks in the Dr. Paul
Singer Collection of Chinese Art of the
Arthur M. Sackler Gallery.

Publications

The publications department worked with
curators, educators, and staff to edit, design,
and produce four books— Atong the Silk Road:
A Potter's Brush: The Kenzan Style in Japanese
Ceramics: A Freer Stela Reconsidered: and
Masterful Illusions: Japanese Prints in the Anne
van Biema Collection— and the annual record.
Many publications were redesigned in a publi-
cations-wide design overhaul that included two
teacher packets, the teacher’s newsletter (now
named Aslan Art Connections). Friends invita-
tions and collateral, Hong Kong Film Festival
posters and collateral, all Art Night identity for
the international Art Museums Division, and
various other invitations, brochures, flyers, and
advertisements. The department also designed,
cpordinated, and produced a variety of projects
for the shop, and it continued to produce the
museum's bimonthly calendar and the Bill and
Mary Meyer Concert Series program notes.
New identity/logo development for the Freer
& Sackier was launched and remains ongoing.

Museum Publications

Abe, Stanley K. A Freer Stela Reconsidered.
Occasional Papers, no. 3 . Washington, D.C.:
Freer Gallery of Art & Arthur M. Sackier
Gallery, Smithsonian Institution, 2002.

Ten Grotenhuis, Elizabeth, ed. Along the Silk
Road. Asian Art & Culture, no. 6 . Washington,
D.C.: Arthur M. Sackier Gallery, Smithsonian
Institution, in association with University of
Washington Press and Silk Road Project, 2002.

Wilson, Richard L. The Potter's Brush: The
Kenzan Style in Japanese Ceramics.

Washington, D.C.: Freer Gallery of Art & Arthur
M. Sackier Gallery, Smithsonian Institution, in
association with Merrell Publishers, 2001.

Yonemura, Ann. Masterful Illusions: Japanese
Prints in the Anne van Biema Collection.
Washington, D.C.; Arthur M. Sacker Gallery.
Smithsonian Institution, in association with
University of Washington Press, 2002.

Publications by Members of the Staff

Chang, Joseph. "On Mr. Goldfish: Wang
Yachen ( 1894 - 1983 )." Haipai huihua yanjiu wenji
(Collected essays on the study of Shanghai
school painting). Shanghai: Shanghai shuhua
chubanshe, 2001.

. “Seals Used by C. C. Wang," Arts of

Asia 32. no. 3 (may-june 2002): 53.

Cort, Louise Allison. “A Short History of
Woodfiring in America." In Great Shlgaraki
Exhibition: Rediscovery and Revival of the
Beauty of Yakishime Stoneware. 182 - 92 .
Shigaraki, Japan: The Shigaraki Ceramic
Cultural Park and Asahi Shimbun, 2001:
reprinted in The Log Book (The International
Publication for Woodfirers). nos. 9-12 (2002).

. "Early Ceramic Production in the

Shigaraki Valley: An Outline of Its Social and
Economic Basis." In Kinsel Shigarakiyaki o
megutte (Issues regarding Shigaraki ceramics
in the Early Modern Period), i- 23 , Kyoto: Kansai
Tojishi Kenkyukai, 2001.

Foreword to The Potter's Brush:

The Kenzan Style in Japanese Ceramics, by
Richard L. Wilson. Washington, D,C.: Freer
Gallery of Art & Arthur M. Sackier Gallery,
in association with Merrell Publishers, 2001.

Cort, Louise Allison, and Leedom Lefferts.

“An Approach to the Study of Contemporary
Earthenware Technology in Mainland South-
east Asia." Journal of the Siam Society 88,
parts 1 and 2 (2000: published in 2002 ): 204-11.

Diamond, Debra. "Kenro izu." In Along the
Silk Road. ed. Elizabeth ten Grotenhuis. Asian
Art & Culture, no. 6 . Washington. D.C.: Arthur
M. Sackier Gallery, Smithsonian Institution, in
association with University of Washington
Press and Silk Road Project, 2002,

Douglas, Janet G., and Blythe McCarthy.

“Fifty Years and Counting: Scientific Research
in Asian Art at the Freer & Sackier Galleries."
Material Matters (Smithsonian Forum on
Material Culture) 4 i (November 2001): 1-3.

ANNUAL RECORD

Douglas, Janet G., Blythe McCarthy, and Insook
Lee. "Gokok: Korean Glass and Stone Comma-
Shaped Beads at the Freer Gallery of Art."
Ornament Magazine 25 , no. 4 (2002): 34-39.

Leona, Marco, and John Winter. "Fiber Optics
Reflectance Spectroscopy: A Unique Tool for
the Investigation of Japanese Paintings."

Studies in Conservation 46 , no. 3 (200i): 153 - 62 .

McCarthy, Blythe. “Technical Analysis of Reds
and Yellows from the Tomb of Suemniwet,
Theban Tomb 92 ." In Colour and Painting in
Ancient Egypt ed. W. V. Davies, 17-21. London:
The British Museum Press, 2001.

Shu, Yue. "Bixifaniya Da Xue Bo Wu Guan
Gang Zhen Pin Jie Shao (Introduction to
the treasure collection of the University of
Pennsylvania Museum)." Mei Shu Guan.
no. 2 (MAY 2002): 116-22.

Stuart, Jan. "C. C. Wang: Singing Brush and
Dancing Ink." Arts of Asia 32/3 (may 2002): 44-52.

. “Dressing Chinese Tables and Chairs:

Furnishing Textiles in Imperial China." Oriental
Art 47, no. 4 (2001): 38 - 46 .

Stuart, Jan, and Chang Qing. "Chinese
Buddhist Sculpture in a New Light at the Freer
Gallery of Art." Orientations 34. no. 4 (April
2002 ): 29 - 37 .

Stuart, Jan, Dai Hongwen, and Dai Liqiang.

"Zhuishu zuxian de shenying: Meiguo Shakele
yishu guan cang Zhongguo yingxiang chutan
(Ancestor portraits in America's Sackier
Gallery)." Wenwu shijie 2 (2002): 42 - 46 .

Yoshimura, Reiko. "Japanese Period Sub-
divisions List.” Council on East Asian Libraries,
Committee on Technical Processing. Spring
2002. http://cealctp.lib.uci.edu.

19 FS IG 2003

SERVICES

Library Services

During this fiscal year, the library improved accessibility and enhanced the research services it provides.

In December the library's 8,988 online Chinese-language catalogue records were converted to Pinyin from
Wade-Giles romanization following the Library of Congress's 2000 decision to move the entire North
American library community to this system, which is now standard.

The library also prepared a new branch library homepage as part of SIL's portal to the libraries' colleotion
and services. Galaxy of Knowledge. The library's staff was pleased to host fellow librarians from Eedlink
and the National Gallery of Art for a tour through the collections.

In addition, the library acquired a total of 2,182 volumes (excluding journal issues) in 2002. Among the total,
1.570 volumes were purchased and 491 were acquired through gift/exchange programs. The library also
received 121 exhibition catalogues from Japan through Japan Art Catalog Project.

Significant Acquisitions

Kindai Nihon Ato Katarogu
Korekushon (Art catalogue collec-
tion of modern age Japan) (Tokyo:
Yumani Shobo, 2001-present), vols.
1-35. This ongoing, multivolume
monograph set is a collected
reproduction of various Japanese
art exhibition catalogues from Meiji
through the early Showa periods.
The title has become a perfect
supplement to the JAC Project
material that is a comprehensive
collection of current exhibition cat-
alogues from Japan.

Polster. Edythe, and Alfred H.
Marks. Suhmono Prints by Eibow
(Washington, D.C.; Lovejoy Press,
1980 ). This title, one of the privately
published 1.050 copies, consists of
■a large number of suhmono prints
owned by the authors. It is consid-
ered one of the most comprehen-
sive surimono catalogues pub-
lished outside of Japan. Art dealer
Geoffrey Oliver generously donated
this book to the gallery on the
occasion of the exhibition Masterful
Illusions: Japanese Prints from the
Anne van Biema Collection.

Schroeder, Ulrich von. Buddhist
Sculptures in Tibet. 2 vols. (Hong
Kong: Visual Dharma, 2001). Accom-
panied by more than eleven hun-
dred images, the title contains the
most important sculptures remain-
ing in Tibet and represents eight-
een years of the author's survey
work throughout eighteen trips.

The title is an indispensable refer-
ence work for researchers who
conduct studies on Buddhist art.

Loans

CERRITOS LIBRARY, CERRITOS, CALIF.,
IN COLLABORATION WITH PACIFIC ASIA
MUSEUM, PASADENA, CALIF.

Eebruary 15-november 2 , 2002

Katsushika, Hokusai. Hokusai
Imayo HInagata (Hokusai's designs
on combs). Tokyo: Okura Shoten,
1889.

. Hokusai Manga (Hokusai

sketchbooks). Vol. 8. Biyo (present-
day Nagoya): Tohekido, 1828-78.

FREER GALLERY OF ART

The Potter's Brush: The Kenzan
Style in Japanese Ceramics
DECEMBER 9. 2O01-OCTOBER 27, 2002

Pranks, Sir Augustus Wollaston.
Japanese Pottery: Being a Native
Report. London: Chapman and
Hall, 1880.

Ninagawa, Noritake. Kanko zusetsu.
TokI no bu. Vol. 4. 1876-78.

Soga benran. Vol. i. Naniwa (pres-
ent-day Osaka): Onogi Ichibe, I76i.

ANNUAL RECORD 20 FS|G2003

Archives and Slide Library

The archives made progress in access, preservation, and collections management this year, showing
rapid advancements in documenting the archives' collections and enhancing online research tools.
The archives entered into an agreement to contribute its collection records to the Smithsonian
Research Information System (SIRIS), a public database of the holdings of the Institution's libraries,
archives, and other research centers (www.siris.si.edu). SIRIS allows access to catalogue-level records
via the Internet and offers links to electronic finding aids, the archives' in-depth collection descriptions.
This will allow researchers to obtain more detailed information about the collections directly online.
SIRIS also has the capability to link the archives' catalogue records to digital image files.

Additionally, collection-level records are being entered into the RUN union catalogue, a private
database of holdings from a wide array of research institutions. RLG, the administrator of RUN, also
administers a database of finding aids called Archival Resources, Through Archival Resources the
museum offers researchers the opportunity to perform more advanced searches of finding aids.

The archives initiated a pilot project to document the recently acquired Henry and Nancy Rosin
Collection of Photographs of Japan. With the help of a summer intern, a full representation of digital
surrogates was created and linked to an item-level database. This database will permit researchers to
browse images from this extensive collection without disturbing sensitive originals. These records and
digital files will also be entered into SIRIS. The staff of the archives continues work with the photography
department to produce high-resolution digital images of these items as well.

The archives' cold vault was made fully operational this year, and climate-sensitive photographic materi-
als were moved in for long-term preservation. Environmental controls and monitoring standards were
improved to ensure maximum stability for the museum's exoeptional collection of historic photographs,
which will extend their expected life span by hundreds of years.

Acquisitions

CHARLES LEANDER WEED PHOTOGRAPH
OF FISHING VILLAGE ON MISSISSIPPI BAY

Fishing Village on Mississippi Bay-
Near Yokohama 18, ca. 1866-67, by
Charles Leander Weed (American,
1824-1903). Albumen print from wet-
collodion glass plate negative, on
contemporary card mount with
printed caption and printed text
on reverse identifying the publisher,
Thomas Houseworth. Total: i photo-
print; image x 40 x 52 on mount
56 X 70 cm. Purchase, 2001 ,

MIRIAM MCNAIR SCOTT PAPERS

Papers, 1970-81, of author Miriam
McNair Scott (d. ca. 19S7) related to
research for monograph coauthored
with Carol Stratton, entitled The Art
of Sukhothai: Thailand's Golden Age
(Kuala Lumpur: Oxford University
Press, 1981). Includes research files,
lecture notes, 1977 article by Scott,
and photographs (nearly fifteen hun-
dred slides and 472 prints, many
taken by her husband, Robert
McNair Scott, to document Thai art
and culture in Asia). Total: 2 linear
feet. Gift to Freer Library on I 8
October, 1988: subsequently
transferred to archives in 2001 .

A. W. BAHR PAPERS

Papers, ca. 1900-1957 of Chinese
art dealer A. W. [Abel William] Bahr
(1877-1959). Includes biographical
reminiscences, correspondence,
notes, newspaper clippings, approxi-
mately 312 photographs and seven
negatives (most depicting art
objects), and unpublished biography
of Bahr written by Charles Richard
Cammell. Highlights include descrip-
tions of Bahr's role in the organiza-
tion of an influential exhibition of
Chinese ceramics in Shanghai ( 1908 ).
and of his long-lasting friendship
with Charles Lang Freer. Total: 382
items. Gift of Penelope Bahr, 2001 .

LINNAEUS TRIPE PHOTOGRAPHS

Three albumenized salt prints from
wet collodion negatives, 1856-1858, by
Linnaeus Tripe (1822-1902), Sculpture
from Elliot Marble Group. India, pi. 9.
image 22 x 28 cm on mount 33 x 45
cm, ca. 1858. Indian Sculpture with
Measuring Device, image 18 x 29 cm
on mount 34 x 46 cm, ca. 1858, Idgah
and Tomb at Ryakotta, image 25 x 37
on mount 44 x 57 cm, ca. 1856. The
prints are excellent examples of albu-
menized salt prints, one of the earli-
est photographic processes. Total: 3
photoprints. Gift of Charles Isaacs
and Carol A. Nigro, 2001 .

JAMES CAHILL PAPERS

Personal and professional papers
of art historian, educator, curator,
and collector James Cahill (b. 1926).
Correspondence files include com-
munication with some of the most
influential members of the Asian art
community, including Richard M.
Barnhart, Wen Fong, Shen Fu,
Thomas Lawton, Lothar Ledderose,
Sherman Lee, Chu-tsing Li, John A.
Pope, Alan Priest, Laurence Sickman,
Osvald Siren, Alexander Soper, C. C.
Wang, Wang Fangyu, and Nelson Wu.
Correspondence files also contain let-
ters exchanged with art organizations
such as the San Francisco Asian Art
Museum, Smithsonian Institution,
Freer Gallery of Art, College Art Asso-
ciation, National Palace Museum, and
Metropolitan Museum of Art. Project
files include Dr. Cahill's notes, drafts
of articles and speeches, and corre-
spondence pertaining to specific
projects such as the Taiwan photo
project, several exhibits, and numer-
ous lectures and symposia in which
Cahill participated. Total: 12 linear
feet. Gift of James Cahill, 200 I.

SEHERR-THOSS PHOTOGRAPHS

Photographs and negatives of
Sonia P. and Hans C. Seherr-Thoss,
ca. 1960-64. Mounted and unmounted
color lantern slides, inventory lists
to the mounted lantern slides, trans-
parenoies, black-and-white negatives,
mounted prints, and contact sheets.
The majority of images, shot by Hans
C. Seherr-Thoss, appear in their pub-
lication, Design and Color in Islamic
Architecture: Afghanistan. Iran, Turkey
(Smithsonian Institution Press, 1968).
Countries depicted include Iran, Tur-
key, Afghanistan, Tajikistan, and
Uzbekistan. Total: 1.246 items. Gift
of Mrs. Sonia Seherr-Thoss, 2001 .

RUSSELL HAMILTON POSTCARD
AND PHOTOGRAPH COLLECTION

Postcards and photographs, ca.
late igth-early 20 th century. The
postcards, many captioned, black-
and-white, and hand-colored, depict
people, architecture, and nature in
China, Egypt, Japan, India, and Sri
Lanka. The photographs, all black-
and-white with handwritten captions
on the reverse side, mainly depict
people in Somalia, Kuwait, and Sri
Lanka. Russell Hamilton (d. 1911),
an officer in the British Merchant
Marines, assembled this collection
of postcards and photographs. Upon
his death, he left the collection to his
wife, Ethel Mary (nee Hadwen), who
then left them to her daughter Mary
Slusser. Gift of Mary Slusser, 2001 ,

MARTHA SMITH STEREOGRAPH AND
POSTCARD COLLECTION

Fifty-one stereographs and two post-
cards, after 1904 and n.d. Most of the
stereographs were produced by the
Underwood & Underwood studio.
Japanese locations depicted include
Yokohama: Mississippi Bay and the
Mikado Cliffs; Tokyo; Mt. Haruna,

Ikao: Kyoto: Hiroshima: and Lake
Chuzenji. The cards depict geogra-
phy, street scenes, and men, women,
and children in everyday leisure and
work scenes. Three stereographs
depiot scenes from the 1867
Exposition Universelle in Paris,

France, Total: 53 items. Gift of
Martha Smith, 2002 .

CHARLES LEANDER WEED PHOTOGRAPH
OF LANDSCAPE NEAR YOKOHAMA

Albumen print from wet-collodion
glass plate negative, ca. 1866-67, by
Charles Leander Weed (American,
1824-1903). View near Yokohama, on
card mount with printed caption and
printed text identifying the publisher,
Thomas Houseworth & Coi Total: 1
photoprint; image 37 x 52 on mount
56 X 70 cm. Purchase, 2002 .

UENO HIKOMA PHOTOGRAPH OF
SAMURAI OFFICIAL

Original sepia monochrome
albumen print by Ueno Hikoma
(Japanese, 1838-1904). Captioned
Portrait of Samurai Official, ca.
1864-66. Total: 1 photo print: image
20 X 15 on card mount 27 x 21 cm.
Purchase, 2002 .

MUGHAL ARCHITECTURE SLIDES

The Sackler slide library received a
gift in the spring of approximately
seven thousand color slides of
Mughal monuments and gardens in
the vicinity of Lahore, Pakistan, taken
by freelance photographer Richard
Basch in 1996. The slides were given
by executive producer Laura T,
Schneider of the former Smithsonian
Productions office.

The images have been used for a
website on the Mughal gardens of
Lahore: the first stage of that project,
directed by Ms. Schneider, has been
launched and may be seen at
www.mughalgardens.org.

BOARD, STAFF, INTERNS, VOLUNTEERS, AND DOCENTS

Board Staff

(AS OF SEPTEMBER 30, 2002)

Mrs. Hart Fessenden, chair

Mr. Richard M. Danziger, vice chair

Mr. Jeffrey P. Cunard

Mrs. Mary Patricia Wilkie Ebrahimi

Mr. George J. Fan

Dr. Robert S. Feinberg

Dr. Kurt A. Gitter

Mrs. Margaret M. Haldeman

Mrs. Richard Helms

Mrs. Ann R. Kinney

Mr. H. Ohristopher Luce

Mrs. Jill Hornor Ma

Mr, Paul G. Marks

Ms. Elizabeth E. Meyer

Mrs. Oonstance 0. Miller

Mrs. Daniel R Moynihan

Mr. Frank H. Pearl

Dr. Gursharan Sidhu

Mr. Michael R. Sonnenreich

Mr. Abolala Soudavar

Professor Elizabeth ten Grotenhuis

Mr. Paul F. Walter

Ms. Shelby White

HONORARY MEMBER

Sir Joseph Hotung

(AS OF SEPTEMBER 30. 2002)

OFFICE OF THE DIRECTOR

Julian Raby, director
RoseMaria Henry, secretary
TO THE director

strategy and Policy Implementation

Marjan Adib, head

Office of Membership and Development

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Caroline Bedinger, special events
coordinator

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SPECIALIST, individual GIVING
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Public Affairs and Marketing

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specialist

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Education

Max "Ray" Williams, head
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specialist

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(IMAGINASIA)

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coordinator
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SPECIALIST

Rebecca Gregson, associate
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Louise Cort, curator for ceramics
Ann Yonemura, senior associate
curator for JAPANESE ART
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curator for CHINESE ART
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FOR ISLAMIC art

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DENOTES part-time OR INTERMITTENT

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SPECIALIST

John Wang, research specialist
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Paul Jett, HEAD

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SCIENTIST

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SCIENTIST

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ASIAN PAINTING CONSERVATOR

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CONSERVATOR

Vacant, east asian painting
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ZAGREB UNIVERSITY
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MONTGOMERY BLAIR HIGH SOHOOL
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SYRACUSE UNIVERSITY
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WASHINGTON UNIVERSITY

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field school

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WASHINGTON UNIVERSITY

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SIDWELL FRIENDS SCHOOL

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Internship, ImaginAsia, long reach

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SANTA CRUZ

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Management, george Washington

UNIVERSITY

Katherine Leland, Katzenberger
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MUSEUM OF FINE ARTS, TAIWAN

Yilan Lin, ImaginAsia, george

WASHiNGTON UNIVERSITY

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Swatantar Mann, ImaginAsia,

SMITHSONIAN CENTER FOR EDUCATION
AND MUSEUM STUDIES

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FRiENDSHIP EDISON COLLEGE ACADEMY

Andre Minor, ImaginAsia, friendship

EDISON COLLEGE ACADEMY
Mala Nangia, Dick Louie Memorial
Internship. Education, thomas s.

WOOTTON HIGH SCHOOL

James Orr, ImaginAsia, albert

EINSTEIN HIGH SCHOOL

Long Ouyang, ImaginAsia, thomas

JEFFERSON HIGH SCHOOL FOR
SCIENCE AND TECHNOLOGY

Amy Repp, Arts of the Islamic
World, GEORGETOWN UNIVERSITY
Lauren Silverman, ImaginAsia,

GEORGE WASHINGTON UNIVERSITY

Aya Takahashi, Japanese Art,

GEORGE WASHINGTON UNIVERSITY

Shan-shan Tse, ImaginAsia,

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Library, walt whitman high school
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COLLEGE OF DESIGN AND TECHNOLOGY

Aesha Stevenson, ImaginAsia,

FRIENDSHIP EDISON COLLEGE ACADEMY
Tran Thi Thanh Dao, Asian Cultural
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INVENTORY AND CONSERVATION, THE
MUSEUM OF VIETNAMESE HISTORY,

HO CHI MINH CITY

Nick Vitello, ImaginAsia, Rochester

INSTITUTE OF TECHNOLOGY
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BOSTON UNIVERSITY

Sophia Watkins, ImaginAsia, long

iSLAND UNIVERSiTY

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AMERICAN UNIVERSITY

Spirit Wedmore, ImaginAsia, moore

COLLEGE OF ART AND DESIGN

Xueke (Yaya) Zhang, ImaginAsia,

ANN ARUNDEL HIGH SCHOOL

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QUEEN’S UNIVERSITY, ONTARIO. CANADA

Department

Volunteers

Docents

Sau Fong (Candy) Chan, ceramics

ACTIVE

Austin Creel, library

Charlotte Anker

Isabel Dagata, conservation

Martha Bari

Larry Devore, conservation

Marinka Bennett

Bill D'ltalia, public programs

Elizabeth Benskin

Joe Fenton, public programs

Charlotte Blair

Roz Fenton, public programs

George Blundall ■

Gwyn Fields, public programs

Robert Boies

Jim Fields, public programs

Andrea Brown

Heather Frase, public programs

Cecilia Chin

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Diana Clagett

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Willi Colino-Goodman

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Ann Collins

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Lynna Dhanani

slide library

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Helen Gray, public programs

Joan Flood

David Gray, public programs

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Masaku Hiraide, ceramics

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Maria Hunter, public programs

Delrie Hobbs

Hisao Ikuta, ceramics

Jayjia Hsia

Hiroko Izumi, library

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Geoffrey Jones, shops

Hiromi Isobe

Yayoi Kiya, ceramics

Jean Kariya

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Laine Katz

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Subatra Kundu, public programs

Jo Kinkaid

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Christine Lee

Moonsil Lee, library

Jessica Lee

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Cornelia Levin

Dave Rabinowitze, public programs

Ann Ling

Dorothy Robinson, PUBLiC programs

Bente Littlewood

Herb Robinson, public programs

Linda Lowenstein

Takako Sarai, Japanese art

Susan Lubick

Eugenia Schenecker, public

Nancy Mannes

PROGRAMS

Elinor Marcks

Sarah Shay, archives and

Elizabeth Mark

slide library

Eriko Masuoka

Motoko Shimizu, Japanese art

Kathy Mathieson

Yumi Shintani, coNSERVATiON

Sushmita Mazumdar

Barbara Shultz, archives and

Susan McKeon

SLIDE library

Rebecca Miller

Bill Smith, public programs

Pearl Moskowitz

Ann Vroom, public programs

Robert P. Myers Jr.

Pal Williams, library

Tanni Newlin

Robert Yangas, shops

Glenna Csnos
Susan Papadopoulos
Patricia Papero
Virginia Peters
Piera Pearce
Laura Platter

Perrin Radley
Lois Raphling
Cynthia Raso
John Rehm
Sanae Reeves
Kathleen Rich
Joan Rittenhouse
Jane Washburn
Robinson
Dorothy Russell
M. Elizabeth Sansbury
Marshall Seymour
Manuel Silberstein
Helen SIrkin
Lillian Sokol
Lucile Stark
Dorothy Steele
Robert Stockho
Nella Taylor
Lorraine Torres
Betty Lee Turner
Sidelle Wertheimer
Michael Winer
Robert Yangas
Gail Yano

EMERITUS

Lucy Blanton
Patricia Ellis.

Carol Falk
Joan Feldman
Rose Greenfield
Florence Jue
Peter Koltnow
Ada Linowes
Rita Rothwarf
June Trader
William Whalen

ANNUAL RECORD 23 FS|G2003

Credits

Details by Stephen Smith, Photos by John Tsantes.
Photos of Rob Barnard by Tom Wolff.

Noguchi p.8 The Queen, 1931, lent by the Whitney
Museum of American Art, New York, gift of the artist,
69.107. p-10 Installation view, courtesy of the Isamu
Noguchi Foundation, Inc. p.ll Noguchi and his 1952
work Face Dish (Me), courtesy of Jun Miki/T/me Pix.
p,12 Sma// Child, 1952, courtesy of Mrs. Nelson A.
Rockefeller, New York. Big Boy. 1952, lent by the
Museum of Modern Art, New York; A. Conger Goodyear
Fund, 1955. Yoshiko-san, 1952, courtesy of the Isamu
Noguchi Foundation, Inc. Even the Centipede, 1952, lent
by the Museum of Modern Art, New York; A. Conger
Goodyear Fund, 1955. p.l3 My Mu, 1950, lent by the
Isamu Noguchi Foundation, Inc., New York. Journey.
1950, lent by Seto City, Japan, p.l4 Work, 1952, lent by
a private collection. p.l5 Dish, 1952, lent by Tokoname
City, Japan. Dish and box, lent by Kuroda Toen Gallery,
Tokyo. Other dishes, 1952, lent by the Isamu Noguchi
Foundation, Inc. p,16 top to bottom: Beginning of the
World, by Constantin Brancusi (1876-1957), ca. 1920,
Dallas Museum of Art. Foundation for the Arts, gift of
Mr. and Mrs. James H. Clark, 1977.51, FA, 2003 Artists
Rights Society (ARS). New York/ADAGP, Paris. Dampfer
und Segelbote by Paul Klee (1879-1940), 1931, collection
of Mr. and Mrs. Paul Mellon, image © 2003 Board of
Trustees, National Gallery of Art, Washington, D.C.
Shooting Star by Joan Mird (1893-1983), 1938, gift
of Joseph H. Hazen, image © 2003 Board of Trustees.
National Gallery of Art, Washington. D.C. Photos of
Yagi Kazuo and Sodeisha courtesy of Yagi Akira. The
Policeman, 1950, lent by the Isamu Noguchi Foundation,
Inc. p.l7 Hot Day, 1952, courtesy of the Marugame
Genichiro Inokuma Museum of Contemporary Art.

Faith and Form Portrait and interior photography by
Erica Freudenstein. Freer objects (all are museum pur-
chases, except F1975.19) p.20 bottom left: F1962.27,
p.22 far left: F1998,l. p.23 top right: F196S.60; bottom:
1980.195. p.24 left: F1975.19, gift of Dr, and Mrs. Kurt A.
Gittler; bottom right: F1962.27. p.25 F1984.35. pp. 20-25
Barnet and Burto objects from their collection by the Photo-
graphy Studio. The Metropolitan Museum of Art
Himalayas p,26 Scenes from the Early Life of the
Buddha, West Tibet or West Nepal, 14th century, ink
and pigment on cotton, lent by a private collection, p.27
Map by Monika Petrocz'y. CHK America, p.28 Kalachakra
Mandala. Central Tibet. 16th century, pigment on cotton,
lent by the Philadelphia Museum of Art purchased with
the Stella Kramrisch Fund, 2000. p.29 Sun God, Nepal,
ca. 1000, copper alloy, lent by the George Ortiz Collection,
Switzerland. Mystic Master Humkara, Central Tibet, ca.
1600, pigment and gold on cotton, lent by Collection
RRE. p.30 Panel with Scenes from the Life of the Bud-
dha. India, Jammu and Kashmir. 8th century, ivory, lent
by the Cleveland Museum of Art. Leonard J Hanna, Jr.
Fund. p.31 Goddess Kurukulla. Central Tibet, Sakya mon-
astery, ca. 1600, pigment and gold on cotton, lent by
the Museum of Fine Arts, Boston, gift of John Goelet.
p.32 Chakrasamvara and Vajravarahi. Nepal, 1350-1400,
copper with gilding and semiprecious stones, h. 41 cm.
lent by the Michael Henss Collection, Zurich, p.33 God-
dess Sarasvati. Nepal, ca. 1500, bronze with gilding and
semiprecious stones, lent by the Museum of Fine Arts,
Boston. Marshall H. Gould Fund, photo © 2003 Museum
of Fine Arts, Boston, Goddess Tara, Nepal, 13th century,
bronze with gilding and semiprecious stones, lent by a
private collection.

Bada p.34 small seal and large signature, pp. 36-37
Lotus (Leaf 8), China, Qing dynasty, ca. 1665, album of
eight leaves; ink on paper. All artwork in article except
Rabbit is from a bequest from the collection of Wang
Fangyu and Sum Wai, donated in their memory by Mr.
Shao F. Wang, p.38 Lotus (Leaves 5, 4, 6), China, Qing
dynasty, ca. 1665, album of eight leaves; ink on paper.
Lilac Flowers, China. Qing dynasty, ca. 1690, album leaf;
ink and color on paper, p.39 Rubbing of the Holy Mother
Manuscript with transcription and colophon in running-
standard script, China, Qing dynasty, ca, 1698, hand-
scroll; ink on paper. Combined album of painting and
calligraphy (Leaf 8). China, Qing dynasty, ca. 1693-96,
album of nine leaves; ink on paper. p,40 Image taken

from Rabbit, China, Qing dynasty, undated, album of nine
leaves; ink on paper, Chen Family Collection, Singapore.
Lotus and Ducks, China. Qing dynasty, ca. 1696, hang-
ing scroll: ink on paper. p.41 Bamboo, Rocks, and Small
Birds, China. Qing dynasty, ca. 1692, hanging scroll; ink
on paper. Falling Flower, China, Qing dynasty, 1692, one
from four album leaves; ink on paper.

Whistler All Whistler paintings in this article were gifts
of Charles Lang Freer: F1902.161, F1913.91, F1902.164,
F1902.146, F1902.147, F1902.157, F1902.163, F1902.152,
F1902.158, F1902.159, F1902.149, F1904.78, F1919.12.
p.44 bottom center: Gallery of the Louvre, 1831-33,
by Samuel F. B. Morse, courtesy of the Daniel J. Terra
Collection, Terra Museum of American Art, Chicago.
p.45 bottom center: Exhibition of International Society
of Sculptors, Painters and Gravers, reproduced from
"International Art at Knightsbridge," Art Journal (1898),
249. p.46 bottom center: 1904 Whistler Memorial
Exhibition, Copley Society, Boston, Freer Gallery of Art
Archives, p.47 bottom center: Installation view of the
exhibition Cezanne, Gauguin. Seurat, van Gogh, Museum
of Modern Art, New York, November 7-December 7,
1929, digital image copyright 2003, Museum of Modern
Art. New York.

Shiva Nataraja p.50 Shiva as Nataraja, India, Chola
period, ca. 990, bronze, 71.12 cm. scheduled purchase.
Freer Gallery of Art— Margaret and C^orge Haldeman
and museum funds. p,53 Poem credit: David Dean
Shulman, Songs of the Harsh Devotee: The Tevaram of
Cuntaramurtinayanar (Philadelphia: University of
Pennsylvania, 1990), 82.2, 544. Photos by Neil Greentree.
Amida Buddha by Lynne Shaner. Photos by Neil
Greentree. p.54 Amida Nyorai. Japan, Kamakura period,
early 14th century, wood with gold leaf, purchase— Harold
P. Stern Memorial Fund and Museum Funds, F2002.9,
P-56 top right; Battle scene. Japan, Edo period, 17th
century, six-pane! folding screen; gold and color on
paper, gift of George Jackson Eder, F1986.59.

Focus pp. 60-63 "Imaginasia" by Victoria Dawson;
"Social Whirl" and "On the Road" by staff. Photos by
Tom Wolff and John Tsantes.

Endnote p.64 Henry and Nancy Rosin Collection of Early
Photography of Japan, Freer Gallery of Art and Arthur
M. Sackler Gallery Archives, purchase and partial gift
of Henry and Nancy Rosin, 1999-2000.

ANNUAL RECORD

24

FS I G 2003

asiatica

Board of the Freer and Sackler Galleries

PUBLISHER
Julian Raby
EDITOR IN CHIEF
Lynne Shaner
ART DIRECTOR
Kelly Doe

EDITORIAL CONSULTANT
Michael Gold
West Gold Editorial
ANNUAL RECORD EDITOR
Jennifer Ait
CONTRIBUTING EDITORS
Mariah Keller
Gail Spilsbury
CONTRIBUTORS
Stephen Allee
Louise Cort
Joseph Chang
Victoria Dawson
Debra Diamond
Colleen Hennessey
Kenneth John Myers
Stephen Smith
Bert Winther-Tamaki
James Ulak
Ann Yonemura
PHOTOGRAPHERS
Erica Freudenstein
Neil Greentree
John Tsantes
Tom Wolff

Contributing Museum Staff

ART DIRECTOR
Kate Lydon

PRODUCTION/PRINT MANAGEMENT
Rachel Faulise
DIRECTOR OF PUBLIC AFFAIRS
AND MARKETING
Barbara Kram ■

HEAD OF VISUAL SERVICES
Dennis Kois

DIRECTOR OF PHOTOGRAPHY
John Tsantes

PUBLICATIONS MANAGEMENT SPECIALIST
Adina Brosnan-McGee

Mrs. Hart Fessenden, chair

Mr. Richard M. Danziger. vice chair

Mr. Jeffrey P. Cunard

Mrs. Mary Patricia Wilkie Ebrahimi

Dr. Robert S. Feinberg

Dr. Kurt A. Gitter

Mrs. Margaret M. Haldeman

Mrs. Richard Helms

Mrs. Ann R. Kinney

Mr. H. Christopher Luce

Mrs. Jill Hornor Ma

Mr. Paul G. Marks

Ms. Elizabeth E. Meyer

Mrs. Constance C. Miller

Mrs. Daniel P. Moynihan

Mr. Erank H. Pearl

Dr. Gursharan Sidhu

Mr. Michael R. Sonnenreich

Mr. Abolala Soudavar

Professor Elizabeth ten Grotenhuis

Mr. Paul F. Walter

Ms. Shelby White

HONORARY MEMBER

Sir Joseph Hotung

Endnote

>

FromtheArchives

These albumen prints are from the Henry D. Rosin, m.d.,

and Nancy Rosin Collection. It is the museum's first

major acquisition of nineteenth- and early twentieth-

century photographs of Japan. The Rosin collection,

FS

Asiatica is published annually by

the Freer Gallery of Art and Arthur M, Sackler

Gallery, Smithsonian Institution. Washington, D.C.

All correspondence should be directed to;
Publications Department
Freer Gallery of Art and
Arthur M. Sackler Gallery
RO. Box 37012, MRC 707
Washington, DC 20013-7012
Visit us on the web at www.asia.si.edu.

P 2003 Smithsonian institution

asiatica fs g

THE FREER GALLERY OF ART AND ARTHUR
M. SACKLER GALLERY TOGETHER FORM THE
NATIONAL MUSEUM OF ASIAN ART FOR THE
UNITED STATES.